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Back in the early thirties—worst of the depression—a young girl, Mary Stone Girvin, who held an important secretarial position, lost her job. Leaving the stunned, frustrated, bewildered throngs of jobless city people, she went home. Her father and mother lived on a farm a few miles west of Rockford, Illinois.

The family policy of feeding every hungry man who came to their door, proved to be "bread upon the waters." One day, shortly after Mrs. Girvin's return, a man was eating in the kitchen. Mary and her mother were inspecting a lovely patch quilt that they had just completed. The man asked, "Would you ladies like to sell that quilt? Yesterday I heard a woman say that she would like to own a nice quilt." They were all ears! Yes. They would sell it. He told them where the woman lived. They hopped into their Ford and took the quilt to her. Good! She did want a quilt. Better! When she saw the one that they had, the early Rose of Sharon, she wanted that very one. She had no money, but she had just sheared her sheep. She proposed a trade. They left the quilt and took home the newly-sheared fleece of wool.

When the wool was washed and carded, they took the bats to a department store and traded them for material for two quilts. When these were completed, they sold them for cash. That was their first working capital. Mother and daughter looked at each other and said, "Are we in business?" They were. The quilt business grew rapidly. They added braided rugs, and the business continued to grow. It has been growing ever since until today they have customers in many of the states.

TO THE question, "Has it been a good life? Would you recommend it?" Mrs. Girvin answers, "Come and see." Let's go!

We follow the Trask Bridge Road out of Rockford, and drive west eight miles through lovely, partly-wooded rolling prairie. The farms look very prosperous. There will be no neon lights or signboards to call attention to Mrs. Girvin's work shop, so we watch carefully for a group of three comfortable-looking white farm houses. We shall turn into this driveway on the right.

We turn to the door and are admitted into the artistically-arranged living room. We cannot stop to look at the lovely antiques, each piece of which has a history. We are tempted to caress the polished walnut and to examine the rare glass pieces in that cabinet on the left, and we would love to sit in the Boston rocker and leaf through the dear old Bible wherein are kept the much cherished letters that were written eighty-five years ago from the prison camps of the Civil War, but all that must wait for another time.

We are inside the work-rooms and Mary Stone Girvin, a woman in the late thirties, with sunny brown hair, very blue eyes and a lovely voice, has extended her hand in greeting and introduced us to her mother, a former New England school teacher. A lovely tranquil woman, this mother, who is actually twenty-five years older than Mary, but who looks more like a big sister. The work rooms are on the first floor and are large and airy, with generous windows that give a vista of garden, green pastures, and meadow. That slim grey-haired man who is moving among the growing things with a proud possessive air is Mary's father.

WE SEE finished work, work in progress, and much evidence of work to be done. We learn that mother and daughter have been partners for fifteen years. They tell us that they haven't acquired wealth, but that they have made a good living and lived where and how they like to live. If we had been thinking of them, "with fingers weary and worn, plying needle and thread," we were mistaken. While they work they often have a radio program on. A friendly neighbor drops in for a chat and they go right on working. They go to the city to shop for materials, and usually manage to get in a lecture, a concert, occasionally the opera.

Then too, they have formed the habit of taking winter vacations in the South. Mary says that when her husband, Andy Girvin, lived, they always did that. Since Mr. Girvin's death, mother and daughter stay at the farm until after Christmas; then they climb into their motor car and head for a sunnier climate.

When we asked Mrs. Girvin to tell us about the origin and history of quilts and braided rugs, we immediately realized that we had opened up a subject on which she loved to talk and where she is very much at home. She related that the patch quilt originated a long, long time ago. She believes that the very first patch quilt was made when the robins found the babes in the woods and covered them over with leaves. However that may be, the patch quilt is distinctly an American art, an all-time honored art, and one of the few to withstand the machine age. She showed us a beautiful quilt made with meticulous care by her great grandmother, who could not live in luxury, and would not live in ugliness. How little that brave pioneer woman realized that her quilts would be cherished by each succeeding generation and a hundred years later be reproduced in a little Illinois hamlet far from her bleak New England home.

Mrs. Girvin told us that in colonial days the making of patch quilts was both a pastime and a social accomplishment. Girls made the tops of quilts and put them into their hope chests. An invitation to a girl's quilting party was the equivalent of an engagement announcement. Perhaps you too have heard your grandmother say, "I announced my engagement the night this one was quilted." The quilting parties were gala affairs. The ladies quilted all day; the men and women feasted and danced in the evening.

Today's bride tosses her bouquet to her bridesmaid to determine who is to be the next bride. The colonial bride and her girl friends tossed the cat in the newly-quilted quilt. The girl to whom the cat jumped was the next bride.

In most cases the colonial quilt was made of scraps of material that could be used for nothing else. Today's shopper for quilt material is most fastidious as to colors and quality. She would need to be. If a skillful maker is to spend from three to four weeks in making a choice quilt, the best is none too good.

MARY GIRVIN says that anyone who can do neat plain sewing can make a patch quilt. She is very generous in supplying definite instructions. The first step is to decide what color will harmonize with the color scheme of the room where the quilt is to be used; then select a design that will make up effectively in that color. For instance, you find that you can use green. You might select the pine tree pattern, or any other that will make up effectively in that color.

Quilts for full-sized beds are 84 by 100 inches, and 72 by 100 inches for a single bed. The quilt should be long enough to cover the pillows. The lining of the quilt will require from six to nine yards of material, and should be of a quality to match the top. To determine the amount of material for the top of a quilt, follow these directions:

(1) Count the number of pieces of one color in one block of the quilt to be made. Multiply this number by the number of blocks in the quilt.

(2) Lay the pattern of one piece of that color on a strip of strong paper one-fourth of a yard long and the exact width of the material to be used. Making allowances for seams, find how many pieces can be cut from one-fourth yard. Multiply that number by four. That will be the number of pieces that can be cut from one yard.

(3) Divide the number obtained as a result of multiplication in step one by the number obtained in step two. The result will be the number of yards required for that particular color. Repeat this process for each color.

For example—suppose you are making a green and white quilt, and you find that the finished quilt will require, twenty blocks and that each block requires twenty-two small green pieces. Twenty multiplied by twenty-two equals 440 green pieces. Take the pattern of the green piece and lay it out on one-fourth of a yard as directed in step two. You find that you can cut thirty-six pieces, or 144 from one yard. Four hundred and forty divided by 144 equals 3¹/18 yards. To be safe purchase 3¼ yards.

To cut, use a sharp shears. Lay the pattern on the wrong side on the material and mark around it with a well-sharpened pencil. When cutting, allow for all seams and sew in pencil mark which will insure a perfect patch. Seams may be ³/16 or ³/8 of an inch, if you prefer, but keep all seams uniform. The pieces to be sewed together must be accurately placed and firmly held together, and the seams must be even. All seams must be pressed flat—not open. Use No. 40 cotton thread and a No. 8 or 9 needle.

FOR AN applique-patch, or laid-on quilt, cut your pattern and estimate your material in the same manner as for a pieced quilt, except when cutting the patches lay the pattern on the right side of the material. This will bring the pencil marks on the right side of the material to serve as a guide in turning under the edges. Baste the colored patches onto the foundation patch in the desired design and then, with a fine needle and No. 100 cotton thread, that has been slightly waxed, turn under and hem down all edges.

There are different ways of setting a quilt together; an all-over effect of blocks or alternating the blocks with squares of white. The latter is known as the "fence post" plan. The size of the finished block will determine which will make the more effective arrangement.

When you have finished the "top" the first half of the work is done, and you are ready for the quilting. If you are to be entirely happy about the results, the quilting must be skillfully and carefully done. You may proceed to quilt it yourself, or you may turn it, over to an experienced quilter. This quilter will charge you by the "spool" with an extra charge for marking and binding, or she may be able to give you a "job" price. But if you have the time and will work carefully, there is no reason why you cannot do the quilting yourself. Merely follow the directions given here.

SINCE FEW homes have a table large enough to stretch the lining of the quilt on, spread a sheet on the floor and stretch the lining on that. You must have a wide smooth surface; a surface that will permit you to stretch the cotton batting and get all the wrinkles out. Select a good grade of cotton batting; one that does not have a glazed finish. It will be easy to get the needle through it.

When the cotton is all stretched smoothly on the lining, spread your quilt top over this and pin all around. The lining for the quilt should be two or three inches wider and longer than the top of the quilt. This gives a strip by which the quilt may be fastened to the quilting frames. When you have it fastened to the frames, you are ready to quilt. Use No. 9 or 10 quilting needle and No. 60 white thread. Be sure to pull the knot on your thread through between the lining and the top of the quilt so that it will be hidden.

Quilt around each block, and if the quilt is set together with plain blocks—"fence post" plan, they may be quilted in diagonal squares, that is, squares marked on the bias of the cloth. If you quilt in design, it is well to have the design marked lightly with No. 2 pencil. This marking should be done on a table before the quilt is fastened to the frames. Then the pencil marks will not show after the quilting is finished. Take tiny even stitches and make the stitches uniform throughout the quilt. The quality of the quilting often determines the life of the quilt.

When the quilting is finished, trim the lining and cotton off even with the quilt top and stitch on a binding that has been cut on the bias. Cut this binding strip 1¾ inches wide, fold in the middle, press with an iron. Stitch this on the right side of the quilt, then turn this binding back and whip down on the under side with tiny stitches. If you cross-stitch your name and the date of completion on the quilt, it will make it more interesting to future generations. Recently I saw a very old quilt on which the maker had stitched the diagram of her baby-girl's hand.

What will you have when the quilt is completed? You should have a lovely piece of work that you, your children, grandchildren, and great-grandchildren will cherish. Remember—grandson soon spends the money that grandfather left and forgets him. Granddaughter keeps and cherishes the quilt that grandmother made and hands it down as a precious heirloom.

FOR BEAUTY and utility, the braided rug takes its place as a companion piece to the patch quilt. Mrs. Girvin has been very generous in supplying information as to its making and its uses. The braided rug is made as follows:

Material—Use medium-weight woolen cloth.

Colors—The braided rug is a colonial rug and for the most part, the colors were subdued, even dark. However, almost any color that will harmonize with the drapes and wall colors may be used in a braided rug. Watch the greys. A dull grey gives the rug a soiled appearance, but a clear grey blends well with almost any color. Plaids and mixtures are lovely with plain colors; red, black, clear grey, tan, green or brown. Don't be afraid of an occasional strand of vivid color. A braid of warm, rich, red, a golden brown, a soft blue, "makes" the rug. If you are not certain of your own skill in blending colors, go and look at some rugs in the homes of your friends or to a professional rug maker.

Quantity of material—Depends upon size of the rug; one hundred pounds should make a rug 9 by 12 feet.

Treatment—If material is new, be sure that it has been shrunken. If colors run when washed, they should be set in powdered alum water; one tablespoon to the gallon of water. Soak material for two hours. If colors still run, put material back in alum water bath and leave overnight. If material has been used, such as discarded clothing, rip, wash and press. Keep pieces from each garment in a separate roll or pack.

Strips—Tear into strips, the width depending upon the weight of the material and the size of braid desired. Experiment to determine width.

Sewing—Sew the ends of the strips together on the sewing machine. If the ends have been cut on the bias, the braid will be a little smoother than if this has not been done. Double in edges over this sewing and stitch firmly by hand.

Braid—When you have three strips a yard or more in length, begin to braid, sewing on more strips as needed. Do not permit joinings in any two strips to come at the same place. As you braid, hold strips firmly in partly closed hands and carefully turn in all raw edges. The side of the braid that is turned up while braiding is the right side. When sewing the rug into form, you will sew the braids together from the wrong side, and this will be the wrong side of the rug. However, if the braiding and sewing have been carefully done, it will be almost as perfect as the right side.

Center loop—The difference in measurement between the length and width of the rug will be the length of the center loop. For example, if the rug is to be 9 by 12, the center loop will be three feet. Bear in mind that this is the center loop measurement after the raw ends of the first braid have been taken up and made to disappear.

How to work—If possible keep the rug on a table or other flat surface. Fit on the braids in a clockwise direction. At all times keep the rug as flat as it will have to be on the floor when completed. If humps occur, you may have braided the strands too tight. Smooth out hump before going farther. Use a No. 2 needle and No. 8 black thread, double.

Care of the braided rug—On a properly sewed rug, a vacuum cleaner or a broom may be used. Do not shake. Rugs will last indefinitely. Recently I saw a rug that had been on a living room floor for ten years, where there were five in the family and much company. It showed no wear.

WHEN YOU have completed your rug, you have a floor covering that for beauty, individuality, and decorative effect cannot be obtained in any other way. Like its sister product, the patch quilt, the braided rug of today is the cherished heirloom of tomorrow. And like the art of making the patch quilt, the art of making braided rugs is distinctly an American art. Our colonial mothers were forced by necessity to find a covering for the roughly hewn wooden floors, and a fulfillment of their strongest natural instinct, that of beautifying and making their homes more comfortable.

While the braided rug is best suited to the colonial type of home or room, it can be used with propriety in any ensemble. As floor covering for a living room, dining room, bedroom, in front of the fireplace, or as a throw rug for the hall, the braided rug is strikingly effective.

We asked Mary Girvin for her formula for success. She looked at us in surprise and said that she didn't have any. At the beginning she and her mother set themselves a very high standard of performance and have always lived up to it. They always give the customer all that she expects, and just a little more. In return, their customers send others to them, until they always have more orders than they can fill and many customers on a waiting list.

Mrs. Girvin said that it is true that she has often appeared on the programs of women's clubs. Occasionally she has sent quilts and rugs to exhibits. Invariably orders followed. "But," she explained, "when I sum it all up, our success is due to the delightful people we have had the good fortune to serve; the people who come back to us again and again and bring others with them."

MRS. GIRVIN and Mrs. Stone have received urgent requests from department stores in the large cities to permit them to sell their products, but they prefer to deal with their customers direct. Even after fifteen years they get a thrill out of the pleasure of a customer when she sees for the first time the quilt or rug she has ordered.

We asked Mary Girvin if she remembered that bleak day back in the early thirties when she lost her job and she had asked herself the question? "Is this America?"