Log Cabin Quilts

At first glance, it can be difficult to decipher the individual squares—referred to as blocks—that make up the patterns of Log Cabin quilts. This difficulty is a result of the placement of light and dark pieces of fabric. When a dark-colored edge of one block is placed next to the dark-colored edge of another block, the eye tends to merge these components together, obliterating the distinction between blocks.

The center of each block is usually a small square, often red, representing the cabin’s hearth. This square is surrounded by narrow rectangles, frequently composed of half light- and half dark-colored fabrics, representing the logs of the cabin. To identify the individual blocks in any Log Cabin variation, first find a small square and move your eyes outward to locate the boundary between this block and the adjacent one.

Log Cabin designs were made in the United States as early as the 1860s, and their construction introduced the new foundation technique. In this technique, a square of lightweight cotton cloth is cut to the size of the block, and fabric is pieced to that foundation, working from the center out. Completed blocks are then arranged and sewn together. Since the foundation acts as an extra inner layer, these quilts do not usually incorporate a layer of batting and are not quilted, although sometimes they are tied.

The design— representing the hand-hewn log cabin—was believed to convey conceptually the spirit and perseverance of American pioneers.

Log Cabin Quilt, Barn Raising Variation

United States, 1870–1899
Wool, silk, cotton
Gift of the State Historical Society of Wisconsin, Q.P.US.8
85 x 79 in.

The block used to create this Barn Raising design is one of the most widely used of Log Cabin blocks—light and dark strips divide each square diagonally. Here, the result is a pattern of concentric diamonds; however, rearrangement of the blocks generates additional variations. In this quilt the energy of the light half of each block is due to the combination of light fabrics contrasting with bright fabrics, such as light blue and red.

The quilter starts the block by sewing a central square to the foundation and subsequently stitching narrow strips of fabric through the adjacent fabric and to the foundation in a spiraling sequence, with strip dimensions lengthening progressively.

One detail image shows an individual block, and the other detail reveals the back, showing the foundation method of constructing Log Cabin quilts.

Log Cabin Quilt, Variation

United States, 1880–1899
Silk
Gift of the estate of Helen Louise Allen, Q.P.US.31
55.5 x 60.75 in.

The complex pattern of spiraling motifs in this Log Cabin quilt possesses a vibrancy that distracts when trying to identify the individual blocks used in the repeat. How did the artist assemble this piece? The construction here is typical of most Log Cabin patterns, using the foundation method. But rather than affixing narrow strips onto a square-shaped foundation cloth, this quilt is built by stitching the strips onto diamond-shaped blocks. The diamonds are then pieced together, creating six-pointed stars that interconnect with one another. The resulting design’s sense of movement is due to the innovative pattern and consistent use of contrasting colors.

This detail highlights one individual diamond-shaped block.

Log Cabin Quilt, Light and Dark Variation

United States, 1870–1879
Silk, cotton
Gift of the estate of Katherine Way McMullen, 1985.3.16
55.5 x 67.5 in.

What appear to be blocks designed with a stout cross against a dark ground is actually a composition of four very small blocks, sewn together with colors matched in the center. These blocks use a common Log Cabin pattern of bright and dark fabrics—divided diagonally, with a dark-colored velvet central square, although the blocks around the edges vary somewhat from this design.

Here the artist innovatively decided to make the “logs” more dimensional. This piece is not quilted; however, each narrow piece was individually stuffed with wool as it was affixed to the foundation.