♪ AMID WOODEN SHOES, TULIPS, AND WINDMILLS, DISCOVER THE BEAUTY OF DUTCH QUILTS IN THE NETHERLANDS, PLUS THEIR HISTORY AS EXPLAINED BY AN MOONEN AT THE OPEN AIR MUSEUM.

THE MUSEUM AT ARNHEM WAS FOUNDED TO GIVE A HISTORICALLY ACCURATE PICTURE OF EARLY LIFE IN THE NETHERLANDS.

A FANTASTIC QUILT EXHIBIT WAS THE REASON FOR OUR VISIT.

BACK IN OUR STUDIO, WE'LL LEARN TO PIECE--WHAT ELSE-- FLYING DUTCHMEN.

♪ MADE POSSIBLE IN PART BY GRANTS FROM OMNIGRID, THE ORIGINAL, PATENTED BLACK AND YELLOW RULER, BY FAIRFIELD PROCESSING, MAKER OF POLY-FIL BRAND PRODUCTS, AND BY COATS & CLARK, SERVING AMERICA'S SEWING NEEDS FOR OVER 125 YEARS, FEATURING COATS DUAL DUTY PLUS SEWING AND QUILTING THREAD.

WE WENT TO HOLLAND THINKING, "COULD THEY HAVE A HISTORY IN QUILTMAKING?

AND IF THEY DO, WHAT IS IT, AND WHY DID THEY MAKE QUILTS?"

AN MOONEN FILLED IN THE BLANKS FOR US AT THE OPEN AIR MUSEUM IN ARNHEM.

LISTEN NOW AS AN RELATES SOME OF THE FASCINATING HISTORY SHE HAS COMPILED.

AN, CAN YOU GIVE US AN OVERVIEW OF THE HISTORY OF DUTCH QUILTMAKING?

I'M VERY GLAD THAT I FOUND A SOURCE, A VERY OLD SOURCE DATED 1230, AND I FOUND IT IN MEDIEVAL LITERATURE IN A WELL-KNOWN STORY ABOUT LANCELOT.

[READING IN DUTCH] WHICH MEANS NICE BOYS WERE MAKING A BED FOR VAR LEVAIN AND VAR LEVAIN GOT A BED OF SATIN-STITCH-ED MATTRESS.

AND A NICE LADY BROUGHT A BLANKET.

A LITTLE BIT FURTHER ON, THERE'S WRITTEN DOWN... [READING IN DUTCH] THE NICE LADY BROUGHT HIM 3 QUILTS AND 3 NICE COVERLETS AS WELL, AND HE... [READING IN DUTCH] WHICH MEANT HE FOUND IT SO NICE.

[BOTH LAUGH] BUT HE WAS UNDERNEATH 6 COVERLETS, OF COURSE.

AND IT WAS QUITE EXCITING TO FIND THAT.

THAT WE HAD AN EQUIVALENT WORD, A DUTCH EQUIVALENT WORD OF THE ENGLISH QUILT WHICH BOTH CAME FROM THE SAME LATIN WORD USED UNTIL THE NINTH CENTURY--"CULCITA" OR "CULSHITA."

OUR WORD "CUSHION" IS TILL COMING FROM THE SAME WORD AS WELL.

AND THIS WORD HAD THE MEANING IN ROMAN LITERATURE AS MATTRESS AND CUSHION, BUT IN THIS PIECE, IT HAD BOTH MEANINGS.

THE FIRST THERE'S THE QUILT SEDAN, SO THE SATIN MATTRESS, AND IN THE SECOND ONE, THEY ARE TALKING ABOUT THIS STITCHED QUILT, SO THE QUILTED COVERLET.

AND I THINK THERE HAS BEEN A CHANGE IN THE USING THE WORD "QUILK" OR "QUILTA" IN SOMETHING WHERE YOU LAY ON TO SOMETHING WHERE YOU LAY UNDERNEATH.

AND STAY WARM.

AND STAY WARM.

THE EARLIEST QUILTED PIECES ARE TWO LADIES' CAPS QUILTED FOR WARMTH IN THE WINTER.

I'M SURE YOU'VE SEEN CAPS LIKE THESE IN MANY 17th-CENTURY DUTCH PAINTINGS.

AS THE EXHIBIT IS SET UP, MAYBE WE COULD JUST GO DATE-WISE AND PROGRESS DOWN AS WE HAVE VIEWED IT TODAY.

TELL US THE NEXT PHASE OF QUILTMAKING, THE EAST INDIA.

THE EAST INDIA, YES.

LOTS OF PEOPLE EMIGRATED TO THE NORTH-- THE NORDIC NEDERLANDER BECAUSE OF THE INQUISITION.

PROTESTANT CHRISTIANITY WAS FORBIDDEN, AND, IN HOLLAND, THEY ALWAYS HAD THE DOOR OPEN, "COME IN AND STAY HERE."

SO A LOT OF PORTUGUESE JEWS, FRENCH TRADESMEN, ETCETERA, CAME UP TO THE NORTH AND MADE HOLLAND VERY RICH, AND THEY DISCOVERED-- THEY HAD A FLEET, AND THEY DISCOVERED THE FOREIGN COUNTRIES IN THE EAST, AND THEY STARTED THE UNITED EAST COMPANIES.

THESE COMPANY HAD AN IMPORTANT ROLE DURING THE 17th AND 18th CENTURY IN EVERYTHING IN HOLLAND, AND THEY HAD THE TEXTILE TRADE UNBELIEVABLE, AND THEY HAD-- THEY DISCOVERED IN INDIA THE NICE CHINTZ COTTON WHICH WAS THE FIRST COLORFUL MATERIAL EVENTUALLY FIRST USED FOR INTERIORS, LATER FOR FASHION.

THE OLDEST EXAMPLE OF THIS IS A LITTLE PIECE FROM A DOLL'S HOUSE.

IT'S A QUILTED COVERLET FOUND IN THE CHILDREN'S ROOM.

IT'S DATED 1617.

THE OLDEST ACTUAL COVERLET AN FOUND IS A SMALL BABY QUILT DATED 1700.

IT WAS PROBABLY MADE IN INDIA.

I HAVE TO SAY PROBABLY MADE BECAUSE I COULDN'T FIND REAL THE PROOF THAT IT'S DONE BY ORDER, BUT WE KNOW THERE'S A LOT OF THINGS DONE BY ORDER IN INDIA IN TEXTILES.

SO THE OLDEST ONE IS QUILTED.

IT HAS A COTTON PADDING?

YES, BATTING... YEAH, YEAH.

AND SILK ON THE BACKSIDE.

AND IT'S QUILTED-- THE QUILTING IS FOLLOWING THE CHINTZ PATTERN.

I SEE.

THE FLOWERS.

BUT WHEN YOU FEEL IT, IT'S NOT FALLING NICELY.

IT'S A LITTLE BIT STIFF.

MM-HMM.

SO I THINK THAT WAS A REASON THAT THEY STARTED QUILTING A TOTALLY DIFFERENT WAY WITH A TOTALLY OTHER PATTERN, SO THEN, ABOUT 1725, THE FIRST QUILTS CAME UP WITH A QUILTING PATTERN TOTALLY DIFFERENT FROM THE FRONT CHINTZ.

NOT FOLLOWING THE DESIGN AS IT WAS PRINTED, AND THAT WAS A REAL DISCOVERY FOR YOU.

YEAH.

AND THE WAY YOU HAVE SHOWN THE BACK OF THIS PARTICULAR QUILT, TELL US ABOUT THE MOTIF.

THE MOTIFS, I WAS LOOKING AND SEARCHING, TRYING TO FIND WHERE DO THEY COME TO THE MOTIFS, BECAUSE I RECOGNIZED THEM AS VERY SPECIAL DUTCH MOTIFS.

THERE WAS NO ITALIAN OR FRENCH INFLUENCE IN IT, STYLE INFLUENCE.

SO I WAS SEARCHING AND SEARCHING, AND SUDDENLY A COLLEAGUE OF MINE PHONED ME AND SAID, "AN, I THINK I FOUND SOMETHING FOR YOU."

I SAID, "OH?"

I COME OVER TO YOU," IT WAS A SUNDAY, AND HE BROUGHT ME THE BOOK DATED 1668, AND IT'S A BOOK ABOUT GARDENING, 17th-CENTURY GARDENING, AND IN THAT BOOK WAS A CHAPTER OF 200 MODELS OF-- WITH DESIGNS FOR FLOWER MATS.

AND THEN I THOUGHT, "MY GOD, THAT'S IT."

AND, OF COURSE, THE DESIGNS IN QUILTING HAVE BEEN MADE LATER.

I'M SURE THAT THE WAY OF DESIGNING IS THE SAME, AND YOU CAN COMPARE SOME QUILTED PIECES WITH THE PICTURES IN THE BOOK.

ALL RIGHT, NOW, YOUR FIRST EVIDENCE OF PATCHWORK IN THIS INTERESTING SKIRT.

TELL US ABOUT THIS.

IT'S A FIRE BASKET WHEN YOU TRANSLATE THE WORD "FUMEMAND."

IT'S A FIRE BASKET, AND IT'S A BASKET WITH--DOWN THERE AN EARTHENWARE POT WITH HOT COALS, AND OVER THIS BASKET WOULD HANG A CLOTH, PIECE OF CLOTH, AND SO YOU GET A KIND OF HOT-AIR COLUMN, AND IT WAS USED TO DRY, GIVE AN EXTRA DRY TO THE NAPPIES BEFORE THE BABIES WAS FOLD IN.

AND THEY MADE IT DECORATIVE BY PUTTING THE PATCHWORK-- YES.

AND I THINK THIS PIECE IS PROBABLY THE OLDEST PIECE I'VE FOUND IN THIS TIME, AND IT'S DATED ABOUT 1775.

THEN FROM THERE, I NOTICE QUITE AN INFLUENCE OF THE RIGHT-ANGLE TRIANGLE, BUT YET SO MANY START WITH A CENTER MEDALLION AND GROW FROM THERE.

EXPAND ON THAT NEXT DISPLAY.

WHEN A COLLEAGUE OF THE MUSEUM CALLED ME AND TOLD ME THAT SHE HAD A NICE LITTLE QUILT WITH TRIANGLES AND WITH A STAR IN IT-- JUST WITH TRIANGLES MADE FROM CHINTZ, THE INDIAN CHINTZ, IMPORTED BY YARDS, KILOMETERS, IN THE 18th CENTURY AND THIS BECAUSE OF THE REST-- THE LEFTOVERS OF THE CHINTZ USED IN FASHION.

THEY HAD AN ENORMOUS VARIETY OF THOSE MATERIALS THAT I THINK IS IN HOLLAND THE REASON THE PATCHWORK MAYBE STARTED.

WHEN THIS COLLEAGUE PHONED ME, SHE PHONED ME, "IT'S CHINTZ AND TRIANGLES," AND I THOUGHT, "THERE MUST BE A STAR IN THE MIDDLE," AND SHE SAID, "THAT'S RIGHT.

HOW'D YOU KNOW?"

I SAID, "I DON'T KNOW, BUT ALL THE OLDEST ONES HAVE STARS IN THE MIDDLE."

IT'S A WAY OF IDENTIFYING AN ANTIQUE DUTCH QUILT... YEAH.

IMMEDIATELY.

YEAH.

AND I THINK THE OLDEST ONE, WHICH MEANS THEY ARE DATED THE END OF THE 18th CENTURY AROUND 1800 HAVE THE SAME KIND OF ATMOSPHERE.

OVER TIME, THE PLAY OF LIGHT AND DARK THROUGHOUT THE QUILTS BECAME MORE SYSTEMATIC.

CONTRASTING TRIANGLES CUT FROM SCRAPS WERE USED ALTERNATELY, CREATING AN EFFECT OF LARGE DIAMONDS OVER THE WHOLE QUILT.

FROM THERE, HEXAGONS EMERGED AS A DESIGN MOTIF ABOUT 1830.

THE EXHIBIT HAD SOME MARVELOUS EXAMPLES OF HEXAGON QUILTS.

THESE TWO CAME FROM THE SAME FAMILY.

AN TRIED TO COUNT THE PIECES IN THIS QUILT, BUT FOUND IT VERY DIFFICULT.

FINALLY, SHE ESTIMATED BY COUNTING THE NUMBER OF PIECES IN A SQUARE CENTIMETER.

SHE BELIEVES THAT THE QUILT MUST HAVE AROUND 15,750 PIECES.

I ALSO ADMIRED ANOTHER HEXAGON QUILT WITH WHAT I THOUGHT WAS A PRINT BORDER, BUT IT'S NOT.

IT'S NOT A PRINTED BORDER.

IT LOOKED LIKE A PRINTED BORDER AS I TOLD TO YOU ABOUT THE PRINTED BORDER MADE ESPECIALLY FOR COVERLETS, BUT THIS ONE HAD A BORDER OF PRINTED COTTON, CUT OUT THE FIGURES AND APPLIQUÉD ON WHITE LINEN.

MOST AMAZING.

MOST AMAZING.

AND IT'S DONE IN SUCH A BEAUTIFUL WAY.

AS WE GO DOWN LOOKING AT THE FINAL DISPLAY HERE, IT CONTINUES WITH BOTH THE TRIANGLES AND HEXAGONS.

WHAT HAPPENED THEN TOWARDS THE BEGINNING OF THE 19th CENTURY OR THE END OF THE 18th?

YES.

THE END OF THE 18th CENTURY, YOU SEE AFTER 1850, YOU SEE ALSO COMING UP FROM OTHER MATERIAL.

THERE'S SILK, VELVET COMING UP.

EVEN IN THE LOG CABINS, THERE HAS BEEN USED WOOL.

AND THEN, AFTER THE 17s, IN THE LAST CENTURY, THE '70s, IT DECREASED AND ONLY VERY SIMPLE RED AND BLACK QUILTS.

OF COURSE, THERE ARE STILL QUILTS, BUT YOU CAN'T COMPARE THEM WITH THE BEAUTIFUL PIECES WE HAD IN THE 18th AND EARLY 19th CENTURY.

THE QUILTEN PATTERN DISAPPEARED COMPLETELY.

WE ONLY HAVE SIMPLE LINES LEFT OR BLOCKS, QUITE LARGE, JUST TO KEEP EVERYTHING TOGETHER.

TO CONCLUDE, THE LOVELY BLUE STAR QUILT.

THAT MUST HAVE A STORY TO IT.

YES.

OF COURSE, AS IN AMERICA, THERE START A DIFFERENT MOVEMENT BECAUSE OF THE EXHIBITION IN '71.

THAT EXHIBITION CAME TO THE STEDELIJK MUSEUM IN AMSTERDAM IN '72, AND THAT WAS THE FIRST TIME THE QUILTS WENT UP THE WALL.

OOH.

SO IT WASN'T COVERLETS ANYMORE.

IT WENT UP TO A DECORATIVE PIECE OF ART, AND BECAUSE OF THAT EXHIBITION, THE INTEREST IN QUILTS BECAME ENORMOUSLY, AND ESPECIALLY THE LAST FEW YEARS, IT'S ENORM--WHAT'S GOING ON IN QUILTING, BUT THEY'RE ALL, WHAT THEY MAKE NOW, ALL SO INSPIRED BECAUSE OF THE AMERICAN MOVEMENT.

SO I THINK ONLY A FEW DUTCH QUILTERS KNOW ABOUT THE DUTCH HISTORY, AND THE NICE THING OF THAT QUILT IS IT'S INSPIRED BY AMERICAN TECHNIQUES, BUT THIS LADY STARTED TO USE OUR OWN FABRICS, FABRICS USED IN THE VILLAGE SPAKENBURG IN THE TRADITIONAL COSTUMES, AND I THINK THAT'S A NICE PIECE TO END THE EXHIBITION WITH BECAUSE IT'S THE STEP TO THE MOVEMENT WHICH IS GOING ON NOW.

AND THERE ARE WOVEN FABRICS IN THAT PARTICULAR QUILT.

YEAH.

YES.

YEAH.

YES.

WELL, WE ARE SO EXCITED ABOUT WHAT'S HAPPENING HERE IN HOLLAND AND KNOWING THAT YOU HAVE A HISTORY TO BASE A FUTURE ON AND THAT THESE ARE TRULY DECORATIVE PIECES THAT YOU ARE VERY PROUD OF, AND WE THANK YOU TODAY.

WHAT A FASCINATING ACCOUNT OF DUTCH QUILTMAKING.

AN HAS COMPILED ALL OF THAT INFORMATION INTO A BOOK CALLED, "QUILTS IN THE DUTCH TRADITION."

EVEN THE EXHIBIT WAS SO INTERESTING.

WHY, QUILTS WERE HUNG ON THE CEILING WITH PLEXIGLAS AND EVEN RECESSED IN THE FLOOR SO WE COULD WALK ON TOP OF THEM.

FOR MORE QUILTS NOW, THE PRIZE FOR THE BEST WORKMANSHIP AT AIQA'S QUILT EXPO WAS WON BY A QUILT ENTITLED, "HOLLAND'S GLORY," MADE BY TED STORM-VAN WEELDEN.

SHE LIVES A FEW KILOMETERS SOUTH OF DEN HAAG.

SHE IS GOING TO SHOW US HER SPECIAL TECHNIQUE FOR THIS PRIZE-WINNER AND TELL HOW A CHANCE MEETING WITH LONG-TIME QUILTER LOIS K. IDE FROM OHIO CHANGED HER QUILTMAKING LIFE.

YES.

A TRIP TO SALZBURG REALLY CHANGED MY LIFE.

THE FIRST QUILT EXPO EVENT HELD IN '88 WAS THERE IN SALZBURG, AND THERE I MET AN AMERICAN LADY SHARING FABRICS AND JUST A TINY PIECE OF FABRIC.

THAT EXCHANGE REALLY CHANGED MY LIFE, AND SHE HAND ME THAT FABRIC, AND I PROMISED HER TO SEND MY DUTCH FABRICS TO HER, AND THEN WE WROTE SOME TESTS.

AND AFTER A FEW LETTERS, SHE SAID, "WHY DON'T YOU COME OVER TO AMERICA?

I CAN SHARE SO MANY TECHNIQUES WITH YOU."

WELL, THAT WAS REALLY SOMETHING BECAUSE I HAD NEVER BEEN IN A PLANE BEFORE, AND I JUST TOOK THE PLANE AND WENT TO HER, AND THAT REALLY CHANGED MY LIFE COMPLETELY, AND SHE TOLD ME HER TECHNIQUES, AND SHE SHARED ALL HER STITCHES AND ALL HER SECRETS, AND AT HER KITCHEN COUNTER, I DID MY FIRST APPLIQUÉ STITCHES, AND WHEN I WENT TO AMERICA, I HAD AN IDEA, "OH, I GO OVER THERE AND BUY AMERICAN PATTERNS AND AMERICAN FABRIC," BUT WHILE WORKING THERE, I THOUGHT IT'S NOT CORRECT WHEN I USE YOUR CULTURAL PATTERNS.

I THINK THAT'S YOUR PART, AND IT'S NOT FAIR.

I HAVE A VERY RICH CULTURAL BACKGROUND, SO BY THE TIME I HAD TO GO BACK, THE IDEA MORE AND MORE DEVELOPED TO COME TO DELFT, AND, WELL, WHAT IS MORE DUTCH THAN DELFT?

AND THEN I MADE MY PIECE, MY TRYOUT, MY FIRST APPLIQUÉ STITCHES, AND IN THIS PIECE, OH, I REALLY STRUGGLED.

I STRUGGLED WITH THE POINT, I STRUGGLED WITH THIS.

I HAD TO DO SOME--I WANTED TO DO SOME PADDING LIKE LOIS TOLD ME, AND, WELL, I FINISHED IT, BUT I HAD SO MANY, MANY QUESTIONS ABOUT THIS PIECE.

SO ONE YEAR LATER, LOIS-- THIS WAS IN '89-- AND IN '90, LOIS CAME, BECAUSE QUILT EXPO II WAS ON THE LIST IN ODENSE.

AND SHE STAYED HERE, AND SHE CRITICIZED MY WORK, AND I'M VERY GRATEFUL FOR THAT, BECAUSE NOW I HAD ANOTHER START.

YOU FELT YOU COULD GO FORWARD AND FURTHER AND-- YES.

THAT LED TO "HOLLAND'S GLORY."

YES, AND BECAUSE HERE I SEWED THE APPLIQUÉ PIECES DIRECTLY ONTO THE BACKGROUND, AND THAT'S NOT EASY, AND I CHANGED THE TECHNIQUE, AND NOW I MAKE MY APPLIQUÉ PIECES LIKE-- I CALL THEM ISLANDS.

LIKE BLOCKS IN PATCHWORK, I CREATE AN ISLAND, I EMBROIDER AN ISLAND OR I PUT RUCHING, ONE OF HER SHARED TECHNIQUES.

I PUT RUCHING THAT-- THE WAY YOU GATHER FABRIC, ON A PIECE OF FABRIC, AND THAT IS A COMPLETE, WORKED-OUT PIECE, AND THEN YOU CAN PUT PADDING BEHIND IT.

AND PART OF THAT IS CUT AWAY.

THAT'S SO INTERESTING.

YES.

NEVER HAVE MANY LAYERS OF FABRIC TOGETHER.

I DID HERE.

I FORGOT TO CLIP AWAY THE EXTRA LAYERS, SO WHEN YOU WANT TO QUILT, IT'S AWFUL.

SO ONE OF THE CRITICIZING THINGS OF LOIS WAS YOU HAVE TO CLIP, AND I FORGOT, SO HERE I CLIP AWAY ALL EXTRA FABRIC.

AND THIS ISLAND WILL BE APPLIQUÉD.

AND THEN THAT EXTRA-SPECIAL TECHNIQUE IN "HOLLAND'S GLORY."

YOU DID THE TRAPUNTO.

YES.

LOIS SHARED ME IN '90 WHEN WE WENT TO ODENSE, SHE SHARED THIS TECHNIQUE, SO I TOOK THE SAME DESIGN FROM MY FIRST TRYOUT, AND THIS IS A TRYOUT IN TRAPUNTO.

I LIKE TRAPUNTO, BUT NOT THE WAY IT WAS DONE BEFORE.

IT IS ALWAYS SO MESSY ON THE BACKSIDE, OR YOU HAVE VERY FLIMSY FABRIC, AND I DON'T LIKE THAT.

AND HERE, LOIS TOLD ME HOW TO DO THE TECHNIQUE THIS WAY SO THE BACK LOOKS ATTRACTIVE.

AND THE WAY--WOULD YOU LIKE TO HEAR HOW IT'S DONE?

YES.

WE'RE ALWAYS EAGER TO LEARN.

WELL, IT'S DONE THIS WAY.

YOU HAVE A DESIGN, AND YOU TRACE THE DESIGN ONTO ORGANDY, AND WHEN YOU TRACE THE DESIGN ONTO ORGANDY, WITH VERY TINY STITCHES, LIKE QUILTING STITCHES WITH VERY FINE THREAD FROM THE BACK, FROM THE ORGANDY SIDE, YOU TRACE THE DESIGN, AND THEN, OF COURSE, YOU WASH THE FABRIC.

AND THEN YOU HAVE CREATE ALL PARTS THAT YOU CAN FILL WITH CHANNEL OR YOU CAN STUFF.

MM-HMM.

AND THEN YOU COME TO THIS POINT.

WHAT YOU CAN SEE HERE IS THE BACKSIDE.

THE CHANNELS ARE ALREADY STUFFED, AND THE ENDS OF YARN, THEY ARE NOT YET CLIPPED OFF, AND YOU CAN SEE HERE THE STUFFED PART, BUT WHEN YOU HAVE DESIGN LIKE THIS, THERE ARE VERY TINY POINTS TO FILL, AND WHEN YOU FILL WITH THE BATTING, THEN YOU CAN--IT'S VERY HARD TO REACH THE END OF IT, SO THE WAY I FILL, I STUFF THESE PARTS IS THAT I START IN A HOLE AND PUSH AS FAR AS I CAN COME TO THE SEW LINE, AND THEN I TAKE A PIECE OF YARN, INSERTED IT FROM THE HOLE TO THE POINT, AND THEN EVERYTHING TILL THE END IS FILLED.

AH.

SO THAT EXPLAINS WHY YOU CAN HAVE VERY, VERY SHARP POINTS.

IT'S A MIX OF CHANNEL AND STUFFED TRAPUNTO.

AND THEN YOU GO AHEAD AND PUT IT ON THE BAT AND THE BACKING.

YES, AND THEN YOU START TO QUILT AROUND THE PATTERN.

YOU DON'T NEED TO QUILT EVERY STITCH, AND THAT SAVES A LOT OF TIME.

WELL, WE CONGRATULATE YOU, AND AS YOU HAD SHARED WITH US BEFORE, QUILTING STITCHES ARE PUTTING ALL OF US TOGETHER, A WORLD APART BUT TOGETHER.

YES, WE QUILT VERY WELL TOGETHER, I THINK.

WELL, I HAD A DOSE OF DELFT MYSELF.

I SPENT THE DAY IN THE CITY, AND AFTER SEEING SO MANY BLUE AND WHITE THINGS, I DECIDED TO PUT THOSE LEFTOVER SQUARES INTO A PATCHWORK VEST.

THE POSTAGE STAMP, OF COURSE.

SO MANY BLUES AND WHITES CAME TOGETHER JUST PINNED UP ON A FULL-SCALE MODEL OF THE VEST.

THIS ALLOWED ME TO PIECE IT IN LONG STRIPS.

MORE BLUE AND WHITE.

WE HAVE A LOVELY SAMPLER QUILT FROM A GUILD IN MAINE.

SHYLA SPEAR SENT THIS TO US.

IT WAS ONE OF THEIR CHALLENGE RAFFLE QUILTS, AND I LOVE THE WAY THE BLOCKS ARE ALL PUT TOGETHER, BLOCK TO BLOCK.

MANY FAVORITES THAT HAVE ALREADY BEEN ON OUR SHOW.

HERE'S THE 8-POINTED STAR.

OUR BLOCK TODAY IS FLYING DUTCHMAN.

OFF TO THE SEWING MACHINE.

THE FLYING DUTCHMAN IS A 12-INCH BLOCK.

THE NAME ITSELF COMES FROM AN OLD SEA STORY OR MAYBE IT WAS A DARING PILOT OVER THE NETHERLANDS, OF COURSE.

IT HAS 3 TEMPLATES, A RECTANGLE, A LARGE TRIANGLE.

NOTICE WHERE THE GRAIN LINE IS ON THAT LARGE TRIANGLE.

IT'S NOT ON THE RIGHT ANGLE, BUT ON THE OUTSIDE.

AND THEN A SMALLER TRIANGLE.

THIS TRIANGLE ALSO WORKS ON THE INSIDE FOR THIS FLYING GEESE COMPLEX.

NOW, IT'S A 4-SECTIONED BLOCK.

IN OTHER WORDS, WE CALL IT A 4 PATCH.

YOU'D GET EACH OF THESE SECTIONS, 1, 2, AND 3 DONE AND SEW IT INTO YOUR 6 1/2-INCH UNITS.

SO IT GOES TOGETHER VERY EASILY, IN HALF AND THEN ALL THE WAY DOWN THE LINE.

WELL, LET'S BACKTRACK A MINUTE AND SEE HOW-- YOU KNOW HOW TO DO FLYING GEESE BY NOW, BUT THIS I SOMETIMES CALL THE OHIO STAR COMPLEX.

IT'S VERY EASY TO DO THAT WITH OUR NEW RULERS TODAY.

ALL I NEED TO DO IS LOOK FROM THAT RIGHT ANGLE DOWN TO 4.

THIS IS YOUR 4-INCH SQUARE.

SO THEN I CUT 2 FABRICS, THAT WIDTH FROM THERE TO THAT 4 AND THIS IS ON THE STRAY OF THE GRAIN.

THEN ALL I DO IS CUT OUT, AND BECAUSE I'M CUTTING OUT REVERSE THERE AND THEN THERE, AND I'D COME OVER HERE AND CUT ANOTHER ONE, EACH TIME, THAT ALLOWS ME WHEN I GO TO THE SEWING MACHINE, TO SEW ON THE RIGHT SIDE EACH TIME.

SO I'D SEW DOWN THERE, AND I'D SEW DOWN HERE, KNOWING THAT WHEN I TOOK THAT OFF... AND OPENED THAT UP, I HAD THE 2 MIRROR IMAGES THAT ALLOWED THIS TO GO HERE AND THIS TO BE SEWN OVER HERE.

AND THAT MAKES UP THAT COMPLEX.

IT'S GREAT FOR SCRAPS, TOO.

ALL I NEED TO DO IS PICK UP 2 CONTRASTING FABRICS AND PUT THEM TOGETHER.

AND, OF COURSE, ONCE AGAIN, I WOULD CUT THAT WIDTH OUT.

I WOULD GET THAT ALL THE WAY CUT OUT, AND THAT ALLOWS ME TO THEN COME AND COME THIS WAY AND THAT WAY.

EVERY TIME I DO 2, THAT MAKES UP ONE OF THESE SQUARES.

TUNE IN NEXT WEEK WHEN WE HAVE HOLLAND, PART 2.

SEE YOU THEN.

♪ "LAP QUILTING WITH GEORGIA BONESTEEL" IS MADE POSSIBLE IN PART BY GRANTS FROM OMNIGRID, THE ORIGINAL, PATENTED BLACK AND YELLOW RULER, BY FAIRFIELD PROCESSING, MAKER OF POLY-FIL BRAND PRODUCTS, AND BY COATS & CLARK, SERVING AMERICA'S SEWING NEEDS FOR OVER 125 YEARS, FEATURING COATS DUAL DUTY PLUS SEWING AND QUILTING THREAD.