Not able to visit us in person? Below are 360-degree virtual tours of our exhibits from the comfort of your home or classroom. Stayed tuned as we upload new tours each semester.
Tips: Use your mouse to look around and move through the tour. Click the labels to view more information about each item in the exhibit. For fullscreen mode, click the bottom right arrows to expand the window.
First Farmers of the Barren River Valley
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Styles &thegistofit
Use the arrows to move around the exhibit.
Click the label markers for more information.
Mary Sloss McCormick (1863-1904) in a dress made by the Taylor Company,
circa 1889. The dress has a velvet top with large buttons and a silk skirt with
ribbons. It may have been part of her wedding trousseau, given that the
formal portrait was taken the same year as Mary’s wedding to Hershel P.
McCormick.
Afternoon dress, 1892
Worn by Martha Florence Beard
This “going away gown” was part of Martha Florence Beard's trousseau
for her marriage to Charles Claudius Russell. The bodice and skirt are
made with gray ground foulard silk, printed in a stylized design. Bodice
is trimmed with a beige high standing lace collar and cuffs. It features
rows of metal beads and sequins, brown and gold novelty ribbon, small
shoulder puffs, and self-fabric ruffles on the skirt hem. Mrs. A.H. Taylor
Company label printed inside on the bodice petersham.
Donated by Margaret Cross. Co-adopted by Herbert H. Beckwith
and Bill and Joey Powell. KM4878/1955.16.1
Use the arrows to move around the exhibit.
Click the label markers for more information.
Mary Sloss McCormick (1863-1904) in a dress made by the Taylor Company,
circa 1889. The dress has a velvet top with large buttons and a silk skirt with
ribbons. It may have been part of her wedding trousseau, given that the
formal portrait was taken the same year as Mary’s wedding to Hershel P.
McCormick.
Afternoon dress, 1892
Worn by Martha Florence Beard
This “going away gown” was part of Martha Florence Beard's trousseau
for her marriage to Charles Claudius Russell. The bodice and skirt are
made with gray ground foulard silk, printed in a stylized design. Bodice
is trimmed with a beige high standing lace collar and cuffs. It features
rows of metal beads and sequins, brown and gold novelty ribbon, small
shoulder puffs, and self-fabric ruffles on the skirt hem. Mrs. A.H. Taylor
Company label printed inside on the bodice petersham.
Donated by Margaret Cross. Co-adopted by Herbert H. Beckwith
and Bill and Joey Powell. KM4878/1955.16.1
Carrie Burnam as a child, seated with her older brother, Tom, who died at the age of 7 from cholera.
Photograph provided by Lynn Gazis, Carrie’s great-great-granddaughter.
Nelle Gooch Travelstead in her wedding gown, designed by Mrs.
A. H. Taylor Company, 1906. Nelle attended Potter College at age
17, and eventually earned her A.B. in Education from the Western
Kentucky State Normal School and an M.A. from Columbia University.
Carrie Burnam as a child, seated with her older brother, Tom, who died at the age of 7 from cholera.
Photograph provided by Lynn Gazis, Carrie’s great-great-granddaughter.
Nelle Gooch Travelstead in her wedding gown, designed by Mrs.
A. H. Taylor Company, 1906. Nelle attended Potter College at age
17, and eventually earned her A.B. in Education from the Western
Kentucky State Normal School and an M.A. from Columbia University.
"According to my mother, [Carrie] began designing dresses for her Potter College friends,
who later carried her reputation throughout the South, where small town stores could not
supply fashionable ladies clothing. My grandmother was never a seamstress. She began
as a dress designer and always hired other persons to make the dresses."
- Burnam P. Beckwith
Elizabeth Avery "Bessie" Taft, a 1907 graduate from Houston, Texas,
and her mother were accustomed to purchasing so many dresses, coats,
suits, and opera cloaks that Bessie's father claimed she had attended
Potter College only to be closer to Mrs. Taylor's establishment.
- Janice Faye Walker Centers in "A Kentucky Dressmaker" (Thesis, WKU, 1977)
"The location of the Mrs. A. H. Taylor Company and the Sumpter Sisters...
has had a great influence on local styles, and has contributed largely to the
reputation of the city as a shopping center..." - Park City Daily News, April 1917.
Evening jacket, ca. 1915 Worn by Nora McGee (1883-1967)
This tangerine velvet cocoon jacket features a large shawl-like collar
with center front tie and is lined with ivory crepe. It has covered
cording details on the collar, arms, and back. Influential French
designer Paul Poiret inspired Edwardian cocoon jackets of luxurious
materials such as velvet and fur. Donated by Mrs. Henry Thomas
Hagerman.
Adopted by JoNell Hester. KM4895/1965.2.15.
Afternoon dress, 1903
Worn by Corinne Ayres (1875-1945)
The high neck bodice is made with printed pink ground silk satin with
Art Nouveau-inspired design of white, green, and yellow. Plastron front
of off-white net, bodice and sleeves trimmed with off-white silk twill and
beige lace with a standing collar and long sleeves. It features a label from
the Mrs. A.H. Taylor Company on interior petersham. The skirt is trimmed
with self-fabric inset pleated sections and beige lace with train.
Completed with pink cotton and silk petticoat. Corinne attended Potter
College around 1894.
Donated by Mrs. Howard Compton. Adopted by JoNell Hester.
KM2014.21.1
Hattie Strange Claggett (1872-1963) wearing her Bowling Green Fair
Hop evening gown, which was made by the Taylor Company. The
woman on the right is an unidentified friend or family member.
Evening coat, 1906 Worn by Nelle Gooch Travelstead (1888-1974)
This loose-fitted three-quarter-length coat cut in simple style lines with large
pagoda sleeves was created with ecru wool broadcloth and lined in silk crepe
de chine and is self-closing. The neck, front, and sleeve areas are embellished
with fine Brussels lace in a flower and vine design. The flourish of lace on the
neckline extends midway down the front of the coat. Franklin, KY native and
Potter College graduate Nelle Gooch likely had this coat made as part of her
1906 wedding trousseau.
Donated by Nelle Gooch Travelstead. Adopted by Beth Hester.
KM5716/1967.15.1
Skirt, ca. 1898.
Worn by Bettie Robertson Hagerman (1867-1926) This moiré a-line style
skirt is part of a two-piece satin and velvet dress (bodice not exhibited).
Trimmed with pink silk ribbons at the hem.
Donated by Mrs. Henry Thomas Hagerman. Available for Adoption.
KM2825/1948.11.1
"According to my mother, [Carrie] began designing dresses for her Potter College friends,
who later carried her reputation throughout the South, where small town stores could not
supply fashionable ladies clothing. My grandmother was never a seamstress. She began
as a dress designer and always hired other persons to make the dresses."
- Burnam P. Beckwith
Elizabeth Avery "Bessie" Taft, a 1907 graduate from Houston, Texas,
and her mother were accustomed to purchasing so many dresses, coats,
suits, and opera cloaks that Bessie's father claimed she had attended
Potter College only to be closer to Mrs. Taylor's establishment.
- Janice Faye Walker Centers in "A Kentucky Dressmaker" (Thesis, WKU, 1977)
"The location of the Mrs. A. H. Taylor Company and the Sumpter Sisters...
has had a great influence on local styles, and has contributed largely to the
reputation of the city as a shopping center..." - Park City Daily News, April 1917.
Evening jacket, ca. 1915 Worn by Nora McGee (1883-1967)
This tangerine velvet cocoon jacket features a large shawl-like collar
with center front tie and is lined with ivory crepe. It has covered
cording details on the collar, arms, and back. Influential French
designer Paul Poiret inspired Edwardian cocoon jackets of luxurious
materials such as velvet and fur. Donated by Mrs. Henry Thomas
Hagerman.
Adopted by JoNell Hester. KM4895/1965.2.15.
Afternoon dress, 1903
Worn by Corinne Ayres (1875-1945)
The high neck bodice is made with printed pink ground silk satin with
Art Nouveau-inspired design of white, green, and yellow. Plastron front
of off-white net, bodice and sleeves trimmed with off-white silk twill and
beige lace with a standing collar and long sleeves. It features a label from
the Mrs. A.H. Taylor Company on interior petersham. The skirt is trimmed
with self-fabric inset pleated sections and beige lace with train.
Completed with pink cotton and silk petticoat. Corinne attended Potter
College around 1894.
Donated by Mrs. Howard Compton. Adopted by JoNell Hester.
KM2014.21.1
Hattie Strange Claggett (1872-1963) wearing her Bowling Green Fair
Hop evening gown, which was made by the Taylor Company. The
woman on the right is an unidentified friend or family member.
Evening coat, 1906 Worn by Nelle Gooch Travelstead (1888-1974)
This loose-fitted three-quarter-length coat cut in simple style lines with large
pagoda sleeves was created with ecru wool broadcloth and lined in silk crepe
de chine and is self-closing. The neck, front, and sleeve areas are embellished
with fine Brussels lace in a flower and vine design. The flourish of lace on the
neckline extends midway down the front of the coat. Franklin, KY native and
Potter College graduate Nelle Gooch likely had this coat made as part of her
1906 wedding trousseau.
Donated by Nelle Gooch Travelstead. Adopted by Beth Hester.
KM5716/1967.15.1
Skirt, ca. 1898.
Worn by Bettie Robertson Hagerman (1867-1926) This moiré a-line style
skirt is part of a two-piece satin and velvet dress (bodice not exhibited).
Trimmed with pink silk ribbons at the hem.
Donated by Mrs. Henry Thomas Hagerman. Available for Adoption.
KM2825/1948.11.1
"According to my mother, [Carrie] began designing dresses for her Potter College friends,
who later carried her reputation throughout the South, where small town stores could not
supply fashionable ladies clothing. My grandmother was never a seamstress. She began
as a dress designer and always hired other persons to make the dresses."
- Burnam P. Beckwith
Elizabeth Avery "Bessie" Taft, a 1907 graduate from Houston, Texas,
and her mother were accustomed to purchasing so many dresses, coats,
suits, and opera cloaks that Bessie's father claimed she had attended
Potter College only to be closer to Mrs. Taylor's establishment.
- Janice Faye Walker Centers in "A Kentucky Dressmaker" (Thesis, WKU, 1977)
"The location of the Mrs. A. H. Taylor Company and the Sumpter Sisters...
has had a great influence on local styles, and has contributed largely to the
reputation of the city as a shopping center..." - Park City Daily News, April 1917.
Evening jacket, ca. 1915 Worn by Nora McGee (1883-1967)
This tangerine velvet cocoon jacket features a large shawl-like collar
with center front tie and is lined with ivory crepe. It has covered
cording details on the collar, arms, and back. Influential French
designer Paul Poiret inspired Edwardian cocoon jackets of luxurious
materials such as velvet and fur. Donated by Mrs. Henry Thomas
Hagerman.
Adopted by JoNell Hester. KM4895/1965.2.15.
Afternoon dress, 1903
Worn by Corinne Ayres (1875-1945)
The high neck bodice is made with printed pink ground silk satin with
Art Nouveau-inspired design of white, green, and yellow. Plastron front
of off-white net, bodice and sleeves trimmed with off-white silk twill and
beige lace with a standing collar and long sleeves. It features a label from
the Mrs. A.H. Taylor Company on interior petersham. The skirt is trimmed
with self-fabric inset pleated sections and beige lace with train.
Completed with pink cotton and silk petticoat. Corinne attended Potter
College around 1894.
Donated by Mrs. Howard Compton. Adopted by JoNell Hester.
KM2014.21.1
Hattie Strange Claggett (1872-1963) wearing her Bowling Green Fair
Hop evening gown, which was made by the Taylor Company. The
woman on the right is an unidentified friend or family member.
Evening coat, 1906 Worn by Nelle Gooch Travelstead (1888-1974)
This loose-fitted three-quarter-length coat cut in simple style lines with large
pagoda sleeves was created with ecru wool broadcloth and lined in silk crepe
de chine and is self-closing. The neck, front, and sleeve areas are embellished
with fine Brussels lace in a flower and vine design. The flourish of lace on the
neckline extends midway down the front of the coat. Franklin, KY native and
Potter College graduate Nelle Gooch likely had this coat made as part of her
1906 wedding trousseau.
Donated by Nelle Gooch Travelstead. Adopted by Beth Hester.
KM5716/1967.15.1
Skirt, ca. 1898.
Worn by Bettie Robertson Hagerman (1867-1926) This moiré a-line style
skirt is part of a two-piece satin and velvet dress (bodice not exhibited).
Trimmed with pink silk ribbons at the hem.
Donated by Mrs. Henry Thomas Hagerman. Available for Adoption.
KM2825/1948.11.1
Bowling Green Postman, circa 1910,overloaded with many packages.
One of the packages is addressed to the Mrs. A. H. Taylor Company.
"What a joy! When you tried on your dress there was nothing to do.
Nothing to be lengthened - nothing to be tightened. Every hook and eye
was in place. When Mrs. Taylor made you a dress, she made you a dress!"
- Kate Duncan
Afternoon dress, 1903
Worn by Corinne Ayres (1875-1945)
The high neck bodice is made with printed pink ground silk satin with
Art Nouveau-inspired design of white, green, and yellow. Plastron front
of off-white net, bodice and sleeves trimmed with off-white silk twill and
beige lace with a standing collar and long sleeves. It features a label from
the Mrs. A.H. Taylor Company on interior petersham. The skirt is trimmed
with self-fabric inset pleated sections and beige lace with train.
Completed with pink cotton and silk petticoat. Corinne attended Potter
College around 1894.
Donated by Mrs. Howard Compton. Adopted by JoNell Hester.
KM2014.21.1
Bowling Green Postman, circa 1910,overloaded with many packages.
One of the packages is addressed to the Mrs. A. H. Taylor Company.
"What a joy! When you tried on your dress there was nothing to do.
Nothing to be lengthened - nothing to be tightened. Every hook and eye
was in place. When Mrs. Taylor made you a dress, she made you a dress!"
- Kate Duncan
Afternoon dress, 1903
Worn by Corinne Ayres (1875-1945)
The high neck bodice is made with printed pink ground silk satin with
Art Nouveau-inspired design of white, green, and yellow. Plastron front
of off-white net, bodice and sleeves trimmed with off-white silk twill and
beige lace with a standing collar and long sleeves. It features a label from
the Mrs. A.H. Taylor Company on interior petersham. The skirt is trimmed
with self-fabric inset pleated sections and beige lace with train.
Completed with pink cotton and silk petticoat. Corinne attended Potter
College around 1894.
Donated by Mrs. Howard Compton. Adopted by JoNell Hester.
KM2014.21.1
Unfinished Log Cabin variation quilt top, circa 1907, created from
discarded fabric samples from Taylor’s factory. This quilt is attributed to
Frances Clarke Matlock (1834-1917) and was used by the family for years.
Dinner dress, ca. 1916.
Worn by Eleanor May Heriges Denhardt (1886-1977)
This dress illustrates how silhouettes had evolved from the cinched corseted waist of
the fourth quarter of the nineteenth century to the more tubular style indicative of
the 1910s. While the bodice and skirt are made of black silk faille (a plain-woven silk/
cotton blend), the underbodice is constructed of black silk satin-faced organza.
Trimmed with black jet beading, a silk satin belt, and black cotton net cuff ruffles.
Donated by Mrs. J.G. Denhardt. Adopted by JoNell Hester. KM4776
Unfinished Log Cabin variation quilt top, circa 1907, created from
discarded fabric samples from Taylor’s factory. This quilt is attributed to
Frances Clarke Matlock (1834-1917) and was used by the family for years.
Dinner dress, ca. 1916.
Worn by Eleanor May Heriges Denhardt (1886-1977)
This dress illustrates how silhouettes had evolved from the cinched corseted waist of
the fourth quarter of the nineteenth century to the more tubular style indicative of
the 1910s. While the bodice and skirt are made of black silk faille (a plain-woven silk/
cotton blend), the underbodice is constructed of black silk satin-faced organza.
Trimmed with black jet beading, a silk satin belt, and black cotton net cuff ruffles.
Donated by Mrs. J.G. Denhardt. Adopted by JoNell Hester. KM4776
Unfinished Log Cabin variation quilt top, circa 1907, created from
discarded fabric samples from Taylor’s factory. This quilt is attributed to
Frances Clarke Matlock (1834-1917) and was used by the family for years.
Dinner dress, ca. 1916.
Worn by Eleanor May Heriges Denhardt (1886-1977)
This dress illustrates how silhouettes had evolved from the cinched corseted waist of
the fourth quarter of the nineteenth century to the more tubular style indicative of
the 1910s. While the bodice and skirt are made of black silk faille (a plain-woven silk/
cotton blend), the underbodice is constructed of black silk satin-faced organza.
Trimmed with black jet beading, a silk satin belt, and black cotton net cuff ruffles.
Donated by Mrs. J.G. Denhardt. Adopted by JoNell Hester. KM4776
“A La Sprite” corset with thirty-two whale bone stays, a silk covering,
and silk lace, circa 1904.Worn by Ibbie Beard Allen (1864–1958).
When she used to get kinda upset and she'd start her dentures clicking (pop, pop, pop)
you could hear her from one end of the building to the other. She would purse up those
lips and stomp up those stairs and fold her arms. She'd get after you for nothing then,
so we'd all quiet down and pass it along. 'The boss is on a rampage!' - Zelma Wilkerson
Doll Clothes created with scraps of discarded fabric from Taylor’s factory.
George Anna Hobson Duncan(1907-1988) remembered visiting the factory
as a child with her mother and being given scraps of “luxurious materials” to
construct doll dresses, stating, “Carrie allowed any youngsters who came
into the store to choose material from a bin of scraps and trimmings to be
made into doll clothing.”
Pins, pins, pins! Jane Morningstar remembered playing with discarded
pins from the Taylor company, stating, “My brothers collected the pins.
They tossed the pins out. I don’t know why in particular; maybe they
dropped them on the floor and swept them out. They would collect the
pins and we would use them as barter in our play and games.”
Group of Bowling Green, KY, women, in 1902, likely employees of the Taylor
Company. Carrie is the woman wearing a black tie and pin at her neck, front center.
Others identified in the photograph are Blanche (Jamison) Potter,[Elizabeth] Lite
(Motley) Adams, Mattie (Burnam) Hines, Lelia Gossom Downer, Mamie (Anderson) Barr,
Dixie (Robinson)Mayo, Lizzie (Coombs) Porter, Annie Hines, and Elizabeth(Valentine)
Matlock.
Wedding dress bodice, ca. 1898
Worn by Myrtle Vass Jackson (1874-1975)
This off-white cotton organdy bodice is trimmed with a decorative cross-tucked,
self-fabric yoke, yoke ruffles edged with lace, and a ruched silk satin ribbon.
Waist-length, it has long sleeves and a high neck. (Matching skirt not exhibited).
Donated by Douglas Bradford. Available for Adoption. KM1985.82.1
Bodice, 1899
Worn by Elizabeth Lucy Snow Ansley (1848-1905), Howard County, AR
Black striped silk bodice trimmed with lace. Interior label Mrs. A. H. Taylor & Co.
According to Ansley’s granddaughter, her grandmother’s family “always went to
Kentucky to get their ‘good’ clothes made.”
Donated by William Utterback. Adopted by Beth Hester. 1986.26.1
“A La Sprite” corset with thirty-two whale bone stays, a silk covering,
and silk lace, circa 1904.Worn by Ibbie Beard Allen (1864–1958).
When she used to get kinda upset and she'd start her dentures clicking (pop, pop, pop)
you could hear her from one end of the building to the other. She would purse up those
lips and stomp up those stairs and fold her arms. She'd get after you for nothing then,
so we'd all quiet down and pass it along. 'The boss is on a rampage!' - Zelma Wilkerson
Doll Clothes created with scraps of discarded fabric from Taylor’s factory.
George Anna Hobson Duncan(1907-1988) remembered visiting the factory
as a child with her mother and being given scraps of “luxurious materials” to
construct doll dresses, stating, “Carrie allowed any youngsters who came
into the store to choose material from a bin of scraps and trimmings to be
made into doll clothing.”
Pins, pins, pins! Jane Morningstar remembered playing with discarded
pins from the Taylor company, stating, “My brothers collected the pins.
They tossed the pins out. I don’t know why in particular; maybe they
dropped them on the floor and swept them out. They would collect the
pins and we would use them as barter in our play and games.”
Group of Bowling Green, KY, women, in 1902, likely employees of the Taylor
Company. Carrie is the woman wearing a black tie and pin at her neck, front center.
Others identified in the photograph are Blanche (Jamison) Potter,[Elizabeth] Lite
(Motley) Adams, Mattie (Burnam) Hines, Lelia Gossom Downer, Mamie (Anderson) Barr,
Dixie (Robinson)Mayo, Lizzie (Coombs) Porter, Annie Hines, and Elizabeth(Valentine)
Matlock.
Wedding dress bodice, ca. 1898
Worn by Myrtle Vass Jackson (1874-1975)
This off-white cotton organdy bodice is trimmed with a decorative cross-tucked,
self-fabric yoke, yoke ruffles edged with lace, and a ruched silk satin ribbon.
Waist-length, it has long sleeves and a high neck. (Matching skirt not exhibited).
Donated by Douglas Bradford. Available for Adoption. KM1985.82.1
Bodice, 1899
Worn by Elizabeth Lucy Snow Ansley (1848-1905), Howard County, AR
Black striped silk bodice trimmed with lace. Interior label Mrs. A. H. Taylor & Co.
According to Ansley’s granddaughter, her grandmother’s family “always went to
Kentucky to get their ‘good’ clothes made.”
Donated by William Utterback. Adopted by Beth Hester. 1986.26.1
Hats were standard items in most women's wardrobes. This toque-style hat
which resembles a ship's prow about to launch was briefly in fashion from
1903 to 1905. Donated by WKU IDFM program.
White cotton ladies drawers or pantaloons with embroidered trim and a
thick ribbon for closure. Date unknown. Donated by Kate Clagett Duncan.
"She is a living example...that initiative, courage, and ability will win
success in large measure in a small town just as easily as it will in a
large city." - Courier Journal, October 20, 1912.
Petticoat of fine white muslin with lace trim and inserts and a ribbon drawn
through the lace. Purchased at the Taylor Company as part of Nelle Gooch’s
wedding trousseau in 1906.
Chemise of white muslin with holes or large eyelets around the neckline for a
ribbon or cord and floral and ribbon motif machine embroidery. Reportedly
purchased at the Taylor Company as part of Nelle Gooch’s wedding trousseau
in 1906.
Hatpins of varying sizes were utilized. Designs include those shown here,
such as large ball-shaped glass heads, violet cut glass, and engraved gems.
Others featured more ornate designs, such as engraved gold leaves or the
Egyptian-influenced scarab beetle design.
Fans also came in a variety of styles, typically utilizing feathers. Popular
from the1880s to 1910, they were considered a year-round accessory. This
peacock fan features a woven handle and was donated as part of the
Calvert Family estate of Bowling Green, KY.
Women could choose from a variety of purse styles when accessorizing their
look. Worked using fine linen, cotton and silk threads, dainty Irish crochet
purses were the perfect accessory for the fine white cotton and linen dresses
popularly known today as lingerie dresses.
The small metal purse in this case is a chatelaine purse. Worn hooked onto
the wearer's belt, its elegant frame exhibits the free flowing, organic elements
of the Art Nouveau style. Made by Whiting & Davis Company of Massachusetts.
Donated by Ella Campbell.
Click here to view in a new window.
Gazing Deeply: The Art and Science of Mammoth Cave
Moccasins found in Salt Cave, now part of Mammoth Cave.
These moccasins were likely worn by Native Americans who mined
the cave for its gypsum formations.
According to a 1973 letter from Roy H. Owsley, the moccasins were found by Andy Collins
(brother of Floyd Collins), Gabrielle Robertson, Cecil Wright, and Roy during a trip to Salts
Cave in Hart County in the mid-1920s. Owsley stated,
"Our second trip into the cave lasted several hours. During this trip, the three of us (Andy
Collins, Cecil Wright and I) explored several branches off of the main cavern, and in one of
these in particular we found names and dates that had been scratched on the walls of the
cave with a knife.... In this same chamber...we found several Indian moccasins that were
almost perfectly preserved, along with some other lesser items, all of which were very
carefully carried and handled by Cecil and me..."
Geological Specimens.
Courtesy WKU Department of Geology and Geography.
Minerals of Mammoth Cave
Madison Whittle, Visual Arts Major, Fall 2019.
This work depicts a scientific collection of a few of the minerals found in Mammoth cave.
Accompanying each realistic illustration is the respective crystal system, or a category classified
by possible relations of the crystal axes. The following minerals are featured:
A. Aragonite (orthorhombic)
B. Pyrite (cubic)
C. Gypsum flower (monoclinic)
D. Celestine (orthorhombic)
E. Mirabilite (monoclinic)
"Rosa's Bower" by Charles Waldack, 1866.
Depicts part of the roof in Cleveland's Cabinet, featuring gypsum flowers resembling
roses and dahlia.
Courtesy WKU Library Special Collections.
Geological Specimens.
Courtesy WKU Department of Geology and Geography.
"The Altar" by Charles Waldack, 1866.
This cluster of columns is so named due to marriages which took place in this part of the cave.
Courtesy WKU Library Special Collections.
Stalactite and Stalagmite formations, taken by H. C. Ganter and Carlos G. Darnall, 1889.
Courtesy WKU Library Special Collections.
Echo River Tour, from glass plate negative by H. C. Ganter and Carlos G. Darnall, 1889.
Courtesy WKU Library Special Collections.
Stalactite and Stalagmite formations, print from glass plate negative by H. C. Ganter
and Carlos G. Darnall, 1889.
Courtesy WKU Library and Special Collections.
"Cliffs over the Dead Sea" stereoview, taken by Charles Waldock, 1866.
Courtesy WKU Library and Special Collections.
Experiments at Mammoth Cave.
Courtesy Crawford Hydrology Lab.
Carte-de-visite photograph of Esther Virginia "Jennie" Ray Younglove in a caving outfit.
Courtesy WKU Library special collections.
Grease oil lamp made with tin and copper, used in the explorations of Mammoth Cave, n.d.
Kentucky Museum
1847 journal of a trip through Kentucky and Visit to Mammoth Cave.
Courtesy WKU Library Special Collections
Anna Harris begins an 80-foot rappel into a pit in Great Onyx Cave to collect
underground river samples.
Courtesy Crawford Hydrology Lab.
Jumar
This yellow device is a "jumar" and is an example of the types of climbing equipment used to
travel through the park's caves. Mammoth Cave has many vertical shafts, some more than 150
feet deep, that require special equipment. On loan from Dr. Chris Groves.
Price AA Current Meter
Used to measure flow rates of surface and underground rivers. On loan from Dr. Chris Groves.
Cavers preparing to assist park research efforts by exploring and mapping an
underground stream.
Courtesy Crawford Hydrology Lab.
Pygmy Style Current Meter
This tiny "pygmy" style meter is used to measure flow rates of small streams.
On loan from Dr. Chris Groves.
Helmet with Light
Helmets and lights are among the most important pieces of equipment that cave scientists
and explorers use. On loan from Dr. Chris Groves.
Rite in the Rain notepad
It is important to take careful notes when collecting data, whether above or below ground.
"Rite in the Rain" paper is waterproof, and mud can even be washed off without smearing notes.
On loan from Dr. Chris Groves.
Timeline starts here. Hover to see!
Paleoindian ~ 11,500 BP to 10,000 BP
There was little habitation in the Mammoth Cave area
at this time. The few tools found from that period may
have been brought in from elsewhere.
Archaic ~ 10,000 BP to 3,000 BP
The first explorers entered the cave about
4,700 years ago. Extensive mineral mining in
the cave began about 1,500 years later.
Woodland ~ 3,000 BP to 900 AD
The deepest ancient cave exploration known anywhere
in the world took people up to 5 miles from the nearest
entrance. Major cave exploration ended about
2,200 years ago.
Mississippian ~ 900 AD to 1500 AD
and Proto-Historic ~ 1500 AD to 1700 AD
There was regional habitation, but no deep cave
exploration; some caves were used for rock art.
Early Exploration ~ 1790s to 1940s
Early saltpeter mining gave way to tours starting in 1815.
Stephen Bishop made major discoveries in the 1830s, and
German engineer Max Kamper made an accurate map of
35 miles of passages in 1908.
C-3 Expedition ~ 1940s to 1957
Independent explorers discovered a huge cave
system beneath Flint Ridge. The 1954 Floyd Collins
Crystal Cave (C-3) Expedition by the National
Speleological Society nurtured a new era of
sustained, organized exploration.
Cave Research Foundation ~ 1957 to Present
The National Park Service and newly-formed Cave
Research Foundation agreed to collaborate in
exploration and scientific study. Flint Ridge and
Mammoth were connected in 1972, at that time
the world’s longest cave at 144 miles.
Roppel Cave ~ 1976 to Present
Nearly 50 miles were explored in Roppel Cave
after its discovery in 1976. The Mammoth-Roppel
connection in 1983 made a cave system then
almost 300 miles long.
Fisher Ridge Cave ~ 1982 to Present
Fisher Ridge Cave was discovered in 1981.
Currently the world’s 10th longest cave, it may
connect to Mammoth one day. In the 1980s,
cavers working for hydrologist Jim Quinlan
mapped many miles of underground rivers.
Collaborative Exploration ~ 1992 to Present
Historic collaboration by explorers resulted in the
1992 map “Caves of the Dripping Springs Escarpment.”
Geographic Information Systems (GIS) technology
matured for cave survey data management.
691.7 miles
As of January 2020, there are 697.1 miles of cave
passages documented beneath Hart, Barren and
Edmonson Counties.
Timeline developed by Dr. Chris Groves in partnership
with Dr. George M. Crothers, Chuck DeCroix, Dr. Stanley
Sides, and John MacGregor.
Moccasins, discovered in Salt Cave (now part of Mammoth Cave), 1926.
Kentucky Museum.
"Gothic Chapel" by Charles Waldack, 1866.
Courtesy WKU Library Special Collections.
"Bacon Chamber" by Charles Waldack, 1866.
This chamber is named due to projections from the roof resembling bacon.
Courtesy WKU Library Special Collections.
Report by Alonzo W. Pond about the finding of a mummy in Mammoth Cave, 1935.
Courtesy WKU Library Special Collections.
Map of Mammoth Cave, 1811.
Courtesy WKU Library Special Collections.
The Flint Mammoth Cave System Map.
Featured in the 1975 report by the Cave Research Foundation.
Courtesy Library of Congress.
Historic entrance to Mammoth Cave Saltpeter Works.
Courtesy Library of Congress.
Dr. Rick Toomey and Dr. Chris Groves speak with participants during a trip to Mammoth Cave.
Courtesy Crawford Hydrology Lab.
Cover for a research symposium held at Mammoth Cave in 2016.
Courtesy WKU Library Special Collections.
Scenes from Mammoth Cave, featured in Picturesque America, 1873.
Reproduction courtesy Department of Library Special Collections.
These historical illustrations of Mammoth Cave are similar to others of the period from Europe's
classical Mediterranean karst, which were drawn by founders of karst geology and geographic
studies, Édouard-Alfred Martel and Jovan Cvijić. As scientists, they aimed to acquaint the wider
public with fascinating underground features and to invite others to join them in further
discoveries. Overall the relatively realistic scenes are remarkable as the artists not only had no
proper cameras, but not even lights except for torches.
by Zoran Stevanovic
A current leader of the International Association of Hydrogeologists Karst Commission, Zoran is a
geologist and Professor of the University of Belgrade, Serbia and Chair of the Centre for Karst
Hydrogeology there.
Both tourists and scientists share a common motivation: curiosity. The torch displays point out
how big and endless the passages seem, which geologists seek to explain. Both are motivated by
a sense of wonder and thrill of discovery.
Certain aspects of the cave have been exaggerated. In reality, there is no overhang of the ledge in
the center - it's been added for impact. The "coffin" in the lower-right has been purposely
reshaped to look like a coffin, rather than its real high, narrow, ship-like appearance.
These illustrations are adjusted for maximum impact - to show the cave is an exciting place.
by Art and Peggy Palmer
From their base at the State University of New York at Oneonta, Art and Peggy have been
exploring, studying, and writing about the geology of Mammoth Cave (and many others) for
nearly the last 50 years.
"American Sketches: Mammoth Cave - The Gothic Gallery."
Courtesy Department of Library Special Collections.
Three brave cave explorers are observing the great variety of cave features. A hanging
"stone forest" reminds them of rolling grey clouds on a cave ceiling. Many big and irregular
"stone columns" are connecting the ceiling and floor. In the lower right corner, some
collapsed rocks look like creeping sheep. Like the milk of Mammoths, water with white
contents flows from the top to the bottom. During the dripping, stalagmites and stalactites
grow gradually. It is strong dripping water that flows along in the same way for a long period
that forms the stone columns.
by Pu Junbing
Jungbing is Hydrogeologist and a Professor at the Institute of Karst Geology in Guilin China,
within the Chinese Academy of Geological Sciences. He conducts research throughout
southwest China's karst areas.
Looking at this sketch, I am reminded that both Gothic architecture and karst groundwater
are lacking in this part of Mammoth Cave. Here, Gothic was implied by creating a name based
on some general similarity - the pointed arches of Gothic style. Groundwater was shown by
converting speleothem shapes into something that reminds us of waves on the water surface.
A happy end was inevitable: visitors accompanied by the painter surely appeared back above
ground better stocked by drinks, underground stream water was found in Mammoth Cave in
1838, and Classicism flourished in my country, accompanied by Gothic Revival in North America.
And groundwater was everywhere!
by Peter Malik
Living in a small country, but one blessed with beautiful and fantastic landscapes, Peter is
Department Head for Hydrogeology at Slovakia's national Geological Survey.
Poster for the Eighth Annual Congress of Speleology at Mammoth Dome.
Courtesy Department of Library Special Collections.
It is still very difficult, to this day, to accurately portray a scene in a cave. In 1876, the artist
made a superb job in representing this section of Mammoth Cave. I can see that the wall in the
right seems to comprise collapsed blocks (we call it breakdown). The wall in the left is smooth,
characteristic of being subject to water flow (dissolution by an underground river). The ceiling
cannot be seen, the passage is very high and narrow, suggesting that there was (or is) a water
source that comes from above. We call it a dome.
by Augusto Auler
Since completing graduate studies in the US and Europe, Augusto has been Director of Brazil's
Institute of Karst Geology. Its mission is to study and preserve Brazilian karst areas.
"Echo River" by Grace Kirby Wiley, oil paint on canvas.
Kentucky Museum.
This delightful painting of a boating expedition on Echo River highlights the mystery and thrill of
the world underground.
What happens in that darkness at the end of the river passage? Artists and scientists alike will first
imagine, and then will be compelled to explore this in their differing ways.
by Derek Ford
Derek bicycled some 20 miles through English countryside as a 12-year-old to visit his first caves.
In a world-class karst program at Canada's McMaster University, Derek has by now mentored
many of the world's top cave scientists.
Kettle used to mine saltpeter at
Mammoth Cave during the War of 1812.
Kentucky Museum.
Skeleton of a big brown bat (Eptesicus fuscus)
Prepared by Steve Huskey, Ph.D.
Functional Morphology, Department of Biology, WKU.
A solitary roosting bat in Mammoth Cave.
Courtesy National Park Service.
The Usefulness of Echolocation in Bats
By Sam Allen, Fall 2019.
There are a lot of mysteries surrounding bats due mostly for the fact they are nocturnal, and
many people choose to stay clear of them. Bats have great vision especially during low light
conditions, such as the early morning and dusk. During peak nighttime hours they rely mainly on
echolocation and vibrations off from things to locate their prey. Their eyes are a main focus of
the bat, as they are small but very sensitive and can “see” in near pitch-black conditions.
Illustrations by Julie Schuck, WKU art instructor, Fall 2019.
Scenes from Mammoth Cave, featured in Picturesque America, 1873.
Reproduction courtesy Department of Library Special Collections.
These historical illustrations of Mammoth Cave are similar to others of the period from Europe's
classical Mediterranean karst, which were drawn by founders of karst geology and geographic
studies, Édouard-Alfred Martel and Jovan Cvijić. As scientists, they aimed to acquaint the wider
public with fascinating underground features and to invite others to join them in further
discoveries. Overall the relatively realistic scenes are remarkable as the artists not only had no
proper cameras, but not even lights except for torches.
by Zoran Stevanovic
A current leader of the International Association of Hydrogeologists Karst Commission, Zoran is a
geologist and Professor of the University of Belgrade, Serbia and Chair of the Centre for Karst
Hydrogeology there.
Both tourists and scientists share a common motivation: curiosity. The torch displays point out
how big and endless the passages seem, which geologists seek to explain. Both are motivated by
a sense of wonder and thrill of discovery.
Certain aspects of the cave have been exaggerated. In reality, there is no overhang of the ledge in
the center - it's been added for impact. The "coffin" in the lower-right has been purposely
reshaped to look like a coffin, rather than its real high, narrow, ship-like appearance.
These illustrations are adjusted for maximum impact - to show the cave is an exciting place.
by Art and Peggy Palmer
From their base at the State University of New York at Oneonta, Art and Peggy have been
exploring, studying, and writing about the geology of Mammoth Cave (and many others) for
nearly the last 50 years.
Poster for the Eighth Annual Congress of Speleology at Mammoth Dome.
Courtesy Department of Library Special Collections.
It is still very difficult, to this day, to accurately portray a scene in a cave. In 1876, the artist
made a superb job in representing this section of Mammoth Cave. I can see that the wall in the
right seems to comprise collapsed blocks (we call it breakdown). The wall in the left is smooth,
characteristic of being subject to water flow (dissolution by an underground river). The ceiling
cannot be seen, the passage is very high and narrow, suggesting that there was (or is) a water
source that comes from above. We call it a dome.
by Augusto Auler
Since completing graduate studies in the US and Europe, Augusto has been Director of Brazil's
Institute of Karst Geology. Its mission is to study and preserve Brazilian karst areas.
"American Sketches: Mammoth Cave - The Gothic Gallery."
Courtesy Department of Library Special Collections.
Three brave cave explorers are observing the great variety of cave features. A hanging
"stone forest" reminds them of rolling grey clouds on a cave ceiling. Many big and irregular
"stone columns" are connecting the ceiling and floor. In the lower right corner, some
collapsed rocks look like creeping sheep. Like the milk of Mammoths, water with white
contents flows from the top to the bottom. During the dripping, stalagmites and stalactites
grow gradually. It is strong dripping water that flows along in the same way for a long period
that forms the stone columns.
by Pu Junbing
Jungbing is Hydrogeologist and a Professor at the Institute of Karst Geology in Guilin China,
within the Chinese Academy of Geological Sciences. He conducts research throughout
southwest China's karst areas.
Looking at this sketch, I am reminded that both Gothic architecture and karst groundwater
are lacking in this part of Mammoth Cave. Here, Gothic was implied by creating a name based
on some general similarity - the pointed arches of Gothic style. Groundwater was shown by
converting speleothem shapes into something that reminds us of waves on the water surface.
A happy end was inevitable: visitors accompanied by the painter surely appeared back above
ground better stocked by drinks, underground stream water was found in Mammoth Cave in
1838, and Classicism flourished in my country, accompanied by Gothic Revival in North America.
And groundwater was everywhere!
by Peter Malik
Living in a small country, but one blessed with beautiful and fantastic landscapes, Peter is
Department Head for Hydrogeology at Slovakia's national Geological Survey.
"Echo River" by Grace Kirby Wiley, oil paint on canvas.
Kentucky Museum.
This delightful painting of a boating expedition on Echo River highlights the mystery and thrill of
the world underground.
What happens in that darkness at the end of the river passage? Artists and scientists alike will first
imagine, and then will be compelled to explore this in their differing ways.
by Derek Ford
Derek bicycled some 20 miles through English countryside as a 12-year-old to visit his first caves.
In a world-class karst program at Canada's McMaster University, Derek has by now mentored
many of the world's top cave scientists.
WKU's baseball team competes in several
games during the 2018-19 season.
Photos courtesy WKU athletics.
Kettle used to mine saltpeter at
Mammoth Cave during the War of 1812.
Kentucky Museum.
Saltpeter pipes, from glass plate negative by H. C. Ganter and Carlos G. Darnall, 1889.
Courtesy WKU Library and Special Collections.
Tackling Water Quality in the Green River, Mammoth Cave National Park.
by Julie Schuck, WKU art instructor, 2020.
Water quality data charts.
by Julie Schuck, WKU art instructor.
Lee Ann Bledsoe performs experiments on water quality in Crawford Hydrology Lab.
Courtesy Crawford Hydrology Lab.
Students conduct a groundwater tracing experiment.
This waterfall pours off a sandstone layer, then lands on the limestone base
and sinks underground into the cave system.
Courtesy Crawford Hydrology Lab.
Untitled
by Rhiannon Hussung, Architectural Science major, Fall 2019.
Northern red salamander.
Courtesy John MacGregor, Herpetologist, Nongame Program,
Kentucky Department of Fish and Wildlife Resources.
Cave salamander.
Courtesy Crawford Hydrology Lab.
Marbled salamander eating earthworm.
Courtesy John MacGregor, Herpetologist, Nongame Program,
Kentucky Department of Fish and Wildlife Resources.
Marbled Salamander
by Savannah Haney, Visual Arts major, Fall 2019.
The /'kra fiSH/: Measurements for the Size of the Species
by Kimberly Jefferson, Advertising major, Fall 2019.
The Marbled Salamander
by Morgan Butler, Visual Arts major, Fall 2019.
Depicts a marbled salamander to scale with a 12-ounce Coke can.
Comparing the two shows how small the salamander is in life.
Jessica Williams places a bag of charcoal into a cave stream for
a groundwater tracing experiment.
Courtesy Crawford Hydrology Lab.
Gastropod Illustration
by Sydney Vest, Visual Arts major, Fall 2019.
This illustrates different gastropods, or snails, showing their different body shapes,
shell shapes, and shell colors.
Corn Snake Stalking its Prey, the White-Footed Mouse
by Kaleb Harness, Visual Arts major, Fall 2019.
Undead at Mammoth Cave: Heterodon platirhinos
by Sophie LaMontagne, Visual Studies major, Fall 2019.
Eastern hognose snakes are named for their stout and upturned noses.
They assume this position to convince predators that they are already dead.
Why are Fawns Often Found Alone?
by Hannah Dunn, Visual Arts major, Fall 2019.
If you see a baby deer resting in the tall grass, leave them alone! Does will often leave
their fawns in a safe place while they graze, returning a few times to nurse. This prevents
attracting predators to the fawn.
Nocturnal
by Meghan Hodges, Visual Arts major, Fall 2019.
Big brown bats are nocturnal, or active at night. These bats are susceptible to white nose syndrome.
Eastern Small-Footed Myotis's Diet
by Marrick Thurman, Visual Studies major, Fall 2019.
A Significant Salamander
by Maya Dobelstein, Visual Arts major, Fall 2019.
The marbled salamander lives off crickets, earthworms, centipedes, snails, and
numerous small animals.
Kentucky Keep on Shining
by Julie Schuck, WKU art instructor, Fall 2019.
Improvements in air quality and light fixtures reveal a dazzling night sky.
Native
by Sidney Jarboe, Visual Arts major, Fall 2019.
Features native bird species of Mammoth Cave, including the Northern Cardinal,
American Goldfinch, Great Blue Heron, American Redstart, and Belted Kingfisher.
Adult Saw-Whet Owl and Owlet
by Jessie Allison, Elementary Education major, Fall 2019.
These owls are one of the smallest owls, reaching the size of a tomato during adulthood.
This drawing illustrates differences between babies (owlets) and adult owls.
Air quality data chart
by Julie Schuck, WKU art instructor.
Lyla Ross, a 5th grader from University School, assists Park and WKU scientists
with a tracing experiment.
Courtesy Crawford Hydrology Lab.
Tianlong Bridge, a South China Karst natural arch.
Courtesy Wikimedia Commons.
Limestone formations in Furong Cave, within South China Karst.
Courtesy Wikimedia Commons.
Entrance to caves at Puerto-Princesa, 2008.
Courtesy UNESCO.
Outcrop of karst formations at Puerto-Princesa, 2013.
Courtesy Shankar.s via Wikimedia.
Tourist route through Skocjan Caves, April 2013.
Courtesy Lander at Slovenian Wikipedia.
Entrance to Skocjan Caves, 2009.
Courtesy Wikimedia Commons.
Kentucky Cave Shrimp
by Caroline Sadlo, Visual Arts major, Fall 2019.
Speaking for Statistics
by Ashlyn Crawford, Visual Arts major, Fall 2019.
This graphic explores everyday scenes found at Mammoth Cave,
including various wildlife and associated statistics.
Lyla Ross, a 5th grader from University School, assists Park and WKU scientists
with a tracing experiment.
Courtesy Crawford Hydrology Lab.
Autumn Singer presents an exhibit at the American Water Resources
Association Conference.
Courtesy Crawford Hydrology Lab.
Article by Dr. Chris Groves discussing how cave formations reveal
seasonal changes in dripwater flow.
Courtesy Crawford Hydrology Lab.
Limb Regeneration of a Cave Salamander
by Xavier Malies, Visual Studies major, Fall 2019.
Mammoth Cave Bats
by Kenzie Crowe, Advertising major, Fall 2019.
Students from Bowling Green High School's Science National Honor
Society studying cave formations.
Courtesy Crawford Hydrology Lab.
Mammoth Cave Project
by Allyson Hodge, Fall 2019.
"In the drawing there are five different species of lynx:
1. Lynx rufus floridanus
2. Lynx rufus californicus
3. Lynx rufus (Bobcat)
4. Lynx canadensis
5. Lynx rufus texensis
In the center of the drawing is the Lynx rufus most commonly called the bobcat.
The bobcat can be seen around Mammoth Cave whenever visiting. The lynxes
shown around the bobcat are other types around North America. The point is to
show the difference in the way each cat looks from the other in the face but also
in the markings on their face and the type of fur. Each lynx is from a different
part, making their fur different not just in color but in the patterns they have and
how thick it can be. The Lynx rufus floridanus is from Florida, the Lynx rufus
californicus is from California, the Lynx canadensis is from Canada, and the Lynx
rufus texensis is from Texas. These are all but a few subspecies of Lynx in North
America. There are a lot more, not just in North America, but the whole world."
White Nose Syndrome
by Kayshlyn Cook, Fall 2019.
Kentucky Cave Shrimp
by Liu Yi, Visual Arts major, Fall 2019.
"It shows three Kentucky cave shrimps in my artwork. The Kentucky cave shrimp is
endemic to the Mammoth Cave national park area of Kentucky. It lives only in
underground caves. The Kentucky cave shrimp is nearly transparent. It feeds
mainly on sediments, which are washed into the cave by the flow of groundwater.
The Kentucky cave shrimp also listed as endangered by the state."
Coyote Family
by Tyler Cummins, Visual Studies major, Fall 2019.
"The coyote appears often in the tales and traditions of Native Americans usually
as a very savvy and clever beast. Modern coyotes have displayed their cleverness
by adapting to the changing American landscape. These members of the dog
family once lived primarily in the p[en prairies and deserts, but now roams the
continent’s forests and mountains. They have even colonized cities like Los
Angeles and there over most of in North America. This image shows that the
mother is watching the pups while the father goes hunting. They communicate
with a distinctive call, which at night often develops into a raucous canine chorus."
Gypsum Flowers
by Thy Phan, Visual Arts major, Fall 2019.
Cyanocitta cristata and Clematis versicolor in Mammoth Cave National Park
by Nadya Cournoyer, Advertising major, Fall 2019.
"Blue jays are highly intelligent and adaptable birds. However, with the changing
climate, weather patterns are shifting which is causing birds to change their
behaviors. Researchers have found that many bird species are beginning to spend
the winter further north due to warmer temperatures in the south.
Clematis versicolor (Leather flower clematis) ranges from rocky open woods and
ravines from Kentucky south to Texas. It has a long flowering period lasting from
April to June, resting during the summer and resuming in September/October.
It is important to maintain environments and be aware of climate change for
these species and many others."
The Hoary Bat
by Avery Harlow, Visual Arts major, Fall 2019.
"The hoary bat, one of the many bats found in the Mammoth Cave area, is the
most widespread bat in North and South America. The are one of a few species
that often give birth to twins rather than a single pup. Their fur coloration also
gives them the appearance of being frosted, hence the name “hoary”."
Kentucky Cave Shrimp
by Justine Diedrich, Visual Studies major, Fall 2019.
"I chose to do my Mammoth Cave project according to the eyeless Kentucky cave
shrimp, a particular crustacean species that is only found in Kentucky. The
translucent body and lack of eyes suggest that the crayfish has been developing
underground for many years. When light is pointed toward the crayfish, it’s whole
body seems to glow.
The eyeless cave shrimp mainly lives in large base streams with slow water flow. It
is call the eyeless shrimp because it has adapted to its environment so well that it
has stopped developing eyes altogether It navigates the cave using its antennas
and eats fungi from the floors of the streams."
What Whitetail Deer Eat
by Kelley Clark, Visual Studies major, Fall 2019.
"In the center of my picture is a male whitetail deer. You can tell he is a male
because he has antlers. Whitetail deer’s diet change depending on the season, and
what is available at that time. In the top left corner of the picture is walnuts. In the
top right corner is an ear of corn. In the Bottom right is acorns. The bottom left is
apples."
Chamomile Study
by Lillie Whelchel, Visual Arts major, Fall 2019.
"Mammoth Cave National Park houses many types of plants. This illustration
highlights Chamomile, a common plant here and throughout the world.
Chamomile has white petals, usually 12 of them, and a golden yellow center. My
depiction doesn’t exactly replicate the colors of Chamomile, as I only used a
single color. Chamomile is sought after for its appealing fragrance and its
medicinal properties. Chamomile is also an herb that is commonly used in teas."
Cave Salamander
by Sarah Terry, Visual Arts major, Fall 2019.
"Mammoth Cave National Park is home to a variety of life. One amphibious life
form is the Cave Salamander. Despite its name, Eurycea lucifuga is not restricted
to caves, but can also be found near bluffs, rocky walls, and under damp logs.
Inside caves, however, they are typically found in the “twilight zone” of the cave,
an area just inside the cave’s entrance where there is some light, but not enough
for plants to grow. These salamanders typically have a bright reddish-orange
body heavily marked with black spots and dashes. E. Lucifuga eat many
invertebrates, including many kinds of insects, mites, ticks, isopods, earthworms,
and other soft-bodied creatures. This illustration shows a cave salamander I
between a bed of rocks in Mammoth Cave.
This species is endangered in Kansas but is thriving in Kentucky. Human activities
in and around the caves in addition to groundwater pollution have been though
to be the potential sources of the decline in populations. It is important to
maintain the environment for this species so they may thrive and the ecosystems
which they affect may continue to survive."
Glaucomys Volans (Flying Squirrel)
by Elizabeth Hilbrecht, Visual Studies major, Fall 2019.
"Mammoth Cave National Park is home to many different creatures, one of them
being the Glaucomys volans also known as the flying squirrel. Despite the name,
these squirrels do not actually fly. They glide through the air using their wings
which are a thin layer of skin that is attached to the body, arm, and leg of the
squirrel, almost acting as a parachute for the squirrel. This allows this type of
squirrel to soar around 28 meters in length using their tail to help navigate from
tree to tree throughout the forest."
Scarlet Tanager (Piranga olivacea)
by Erin Taylor, Visual Arts major, Fall 2019.
"The Mammoth Cave National Park is a sanctuary to many species of plants, trees,
and ground dwellers. They are home to about 200 different species of birds as
well. Many of them are migratory birds in which we see at least twice a year—one
being the scarlet tanager. This illustration provides detail about this specific bird
and its life cycle.
1. Scarlet Tanager ID
2. Breeding/Migration
3. Nesting
4. Diet
The biggest threat to their population is habitat encroachment. This is due to
road construction or land clearing for human expansion. But with protected parks
like the Mammoth Cave National Park, these species of bird will continue to thrive."
Mammoth Cave National Park: A World Heritage Site
by Kaharie Taggart, Architectural Science major, Fall 2019.
A Silent Tragedy
by JoyBeth Heberly, Visual Arts major, Fall 2019.
"White Nose Syndrome, caused by a fungus known as Pseudogymnoascus
destructans, threatens bat populations in Mammoth Cave, including the Norther
Long Eared Bat. The white fungus thrives in cold, damp areas and appears on
bats’ noses, wings, and ears. The colonization of the fungus on these areas of
bats’ skin is how the syndrome got its name. This syndrome has cause the deaths
of millions of bats by causing bats to wake out of their dormant state, burning
through calories stored for hibernation, resulting in the bats dying of starvation.
Humans are causing a rise in the presence of the fungus by wearing
contaminated caving gear and polluting the cave ecosystem. In order to save bat
populations like the Northern Long Eared Bat and prevent contamination,
humans must be cautious of our effect on the environment around us."
Mammoth Cave Flowers
by Taylor Smith, Fall 2019.
Bats in Mammoth Cave National Park
by Jonathan Batts, Broadcasting major, Fall 2019.
"Mammoth Cave National Park is home to many species of bats, including big
brown bats, little brown bats, tricolored bats, and so on. Most of these bats
inhabit the caves, however, the eastern red bat mostly live above land.
1. Eastern red bat (Lasiurus borealis)
2. Big brown bat (Eptisecus fuscus)
3. Little brown bat (Myotis lucifugus)
4. Tricolroed bat (Perimyotis subflavus)
These bats have inhabited the tunnels of Mammoth Cave for millions of years."
Owl Species in Mammoth Cave National Park
by Emma Moody, History major, Fall 2019.
"Mammoth Cave National Park is home to dozens of predatory birds. Three,
possibly four of which are owls. This illustration includes four species of owls, including:
1. Great Horned Owl, Bubo virginianus, present in the park
2. Eastern Screech Owl, Megascops asio, present in the park
3. Barred Owl, Strix varia, present in the park
4. Northern Saw-whet Owl, Aegolius acadicus, probably present in the par
These incredible animals are incredibly valuable to the ecosystem and need to be
protected because they are part of nature’s pest control team, keeping rodent
populations level and under control."
Common Mudpuppy and Cave Salamander
by Nicole Crosby, Visual Arts major, Fall 2019
The Hoary Bat AKA Lasiurus cinereus
by Hunter Garrett, Visual Arts major, Fall 2019.
"Mammoth Cave is home to all kinds of interesting animals. Animals in this habitat
happen to include different species of bat, including Lasiurus cinereus, a bat with
quite a few interesting physical traits. This bat, whose body is covered with fur that
often comes in light and/or grey tones, has the unique ability to swoop down to
capture its prey without making a sound. This can be a very useful tactic, especially
when it flies through its deep, dark cave home, looking for insincts like moths for its
diet. I believe this bar to be a standout among the creatures living in Mammoth
Cave, and it is my privilege to share this interest of mine with the rest of WKU and beyond."
Stephen Bishop, Mammoth Cave Explorer
by Hailey Bossert, Advertising major, Fall 2019.
The Food Chain of Mammoth Cave
by Clayton Roederer, Visual Studies major, Fall 2019.
"While it was one much greater, Mammoth Cave is presently home to a modest
ecosystem of bats, such as the Little Brown Bat (Myotis lucifugus). Like most bats,
Little Brown Bats are insectivores. In the case of Mammoth Cave, this diet is
mostly satisfied with the cave cricket, or Rhaphidophoridea. The bats give back to
the ecosystem in their feces, which is one of the main dietary staples of the
Grotto Salamander (Eurycea spelaeus)."
Ed Bishop; Follow His Footsteps
by Kristen Kendrick-Worman, Fall 2019.
Shrews of Mammoth Cave
by Sarah Wolf, Visual Arts major, Fall 2019.
Click here to view in a new window.
HAD Artist Collective Murals
HAD Artist Collective Murals
In early 2018, the WKU Department of Art welcomed
members of the HAD Artist Collective from Visoko, Bosnia
and Herzegovina. As part of the International Years Of (IYO)
Bosnia and Herzegovina, these visiting artists provided mural
workshops for WKU students and the wider Bowling Green
community. Workshop participants had the opportunity to
observe the artists' unique wall cut process and assist in the
creation of the two murals you see here on either side of the
Kentucky Museum courtyard. The culmination of the visit was
a mural unveiling that took place on Friday, March 2nd, 2018.
HAD Collective artists Muhamed Bešlagić (Hamo), Anel Lepić,
and Damir Sarač grew up during the Bosnian War and, in
2015, came together to make artwork about Bosnia's past and
future. According to the Collective, "making already forgotten
human beings alive, visible, and important to everybody else is
what we intend to achieve with our artwork. We use all kinds
of hard surfaces, mainly walls – we scratch, carve, and engrave
wall layers to achieve depth and create the form of a human
portrait, often choosing everyday people from all sides of the
world." Using hammers, chisels, drills, and found paint, HAD
transforms abandoned buildings in the landscape of Bosnia
into sites for remembrance.
HAD Collective's visit was sponsored by the WKU
Department of Art, Potter College of Arts and Letters, the
Office of the International Programs, the Kentucky Museum,
and a SpiritFunder campaign.
Click here to view in a new window.
Whitework: Women Stitching Identity
Conservation
Repair & Stabilization
Cleaning
Why White?
Continuing White Threads
Conservation
Repair & Stabilization
Cleaning
Why White?
Continuing White Threads
Conservation
Repair & Stabilization
Cleaning
Why White?
Continuing White Threads
Flax wheel
Cotton gin
Wholecloth quilt, ca. 1805
Hand-woven "Marseilles" quilt, 1790-1820
Embroidered counterpane, ca. 1810
Weft-loop woven counterpane, ca. 1804
Flax wheel
Women on the American frontier typically used several types of spinning wheels in the home production of textiles, including
Saxony-type wheels such as this one. The linen thread produced by flax wheels was used to weave textiles or combined with
cotton or wool to make a variety of textiles and clothing. Often celebrated as tangible reminders of our colonial or pioneer history,
the number of surviving wheels is an indication of the value the original owners and their descendants placed on them.
KM 833
Cotton gin
Although Kentucky’s climate made large scale production of cotton unsuitable, many farmers grew it for in-home
production of textiles. To expedite the time-consuming task of removing seeds, some Kentuckians made their own version of
Eli Whitney’s cotton gin, such as the example on exhibit. Women were often tasked with the responsibility for carding the
cotton, spinning the resulting fiber into thread, and weaving it into cloth. Even after manufactured cloth was readily available
for purchase, some women continued to raise small plots of cotton, often for use as batts in their quilts. Oral histories record
this practice continuing well into the 20th century.
1976.22.1
Wholecloth quilt, ca. 1805
Rebecca Smith Washington (1786—1861)
Cotton/flax blend
Rebecca Smith’s hand-quilted bedcover is a rare surviving example of the influence of imported British woven quilts.
Her exquisitely stitched motifs mimic the framed-center format, intricate floral details, and filled background pattern of the popular
manufactured textiles. The quilt reportedly “took seven years to stitch.” Rebecca Smith was born in Virginia and married Whiting
Washington, a nephew of George Washington. The couple moved to Russellville, Logan County, where they raised their family.
Kentucky Museum, 2652
Hand-woven "Marseilles" quilt, 1790-1820
Unknown professional weaver
Cotton/flax blend
Factories throughout England produced fancy bedcovers on specialized looms from American-grown cotton. The finished
products, described as “quilted in the loom,” were among the popular British textiles exported to the United States as
fashionable consumer goods. In the years leading up to the War of 1812, patriotic women expressed support for an
embargo against British textiles by creating their own embellished bedcovers.
Kentucky Museum, 1961.1.6
Embroidered counterpane, ca. 1810
Elizabeth “Betsy” Patton Toomey
Warp: flax; Weft and embroidery yarns: cotton/flax blend
Elizabeth Patton Toomey was the granddaughter of Matthew Patton, who emigrated from Ireland, first to Virginia and then
to Clark County, Kentucky. Her mother died soon after her birth, and “Betsy” was raised by her aunt, Elizabeth Yeager
Patton. Betsy’s counterpane includes Dresden work, which indicates that she learned embroidery at a female
academy. The design of her counterpane closely resembles two others, pointing to a single unidentified instructor.
Kentucky Historical Society, 1981.11
Weft-loop woven counterpane, ca. 1804
Elizabeth O’Neal (1786-1891)
Warp: flax; Wefts: cotton/flax blend
Elizabeth O’Neal was born in present-day Nelson County, Kentucky, in 1786. Her mother, Fannie Hall, was a weaver
whose parents had emigrated from West Yorkshire, England, to Fairfax, Virginia, around 1750. Elizabeth learned to weave
from her mother. In 1804, she wove this white counterpane in a traditional English weft-loop style which predated the
more complex Bolton counterpanes woven in neighboring Lancashire.
Kentucky Museum, KM 2021.2.1
Flax wheel
Cotton gin
Wholecloth quilt, ca. 1805
Hand-woven "Marseilles" quilt, 1790-1820
Embroidered counterpane, ca. 1810
Flax wheel
Women on the American frontier typically used several types of spinning wheels in the home production of textiles, including
Saxony-type wheels such as this one. The linen thread produced by flax wheels was used to weave textiles or combined with
cotton or wool to make a variety of textiles and clothing. Often celebrated as tangible reminders of our colonial or pioneer history,
the number of surviving wheels is an indication of the value the original owners and their descendants placed on them.
KM 833
Cotton gin
Although Kentucky’s climate made large scale production of cotton unsuitable, many farmers grew it for in-home
production of textiles. To expedite the time-consuming task of removing seeds, some Kentuckians made their own version of
Eli Whitney’s cotton gin, such as the example on exhibit. Women were often tasked with the responsibility for carding the
cotton, spinning the resulting fiber into thread, and weaving it into cloth. Even after manufactured cloth was readily available
for purchase, some women continued to raise small plots of cotton, often for use as batts in their quilts. Oral histories record
this practice continuing well into the 20th century.
1976.22.1
Wholecloth quilt, ca. 1805
Rebecca Smith Washington (1786—1861)
Cotton/flax blend
Rebecca Smith’s hand-quilted bedcover is a rare surviving example of the influence of imported British woven quilts.
Her exquisitely stitched motifs mimic the framed-center format, intricate floral details, and filled background pattern of the popular
manufactured textiles. The quilt reportedly “took seven years to stitch.” Rebecca Smith was born in Virginia and married Whiting
Washington, a nephew of George Washington. The couple moved to Russellville, Logan County, where they raised their family.
Kentucky Museum, 2652
Hand-woven "Marseilles" quilt, 1790-1820
Unknown professional weaver
Cotton/flax blend
Factories throughout England produced fancy bedcovers on specialized looms from American-grown cotton. The finished
products, described as “quilted in the loom,” were among the popular British textiles exported to the United States as
fashionable consumer goods. In the years leading up to the War of 1812, patriotic women expressed support for an
embargo against British textiles by creating their own embellished bedcovers.
Kentucky Museum, 1961.1.6
Embroidered counterpane, ca. 1810
Elizabeth “Betsy” Patton Toomey
Warp: flax; Weft and embroidery yarns: cotton/flax blend
Elizabeth Patton Toomey was the granddaughter of Matthew Patton, who emigrated from Ireland, first to Virginia and then
to Clark County, Kentucky. Her mother died soon after her birth, and “Betsy” was raised by her aunt, Elizabeth Yeager
Patton. Betsy’s counterpane includes Dresden work, which indicates that she learned embroidery at a female
academy. The design of her counterpane closely resembles two others, pointing to a single unidentified instructor.
Kentucky Historical Society, 1981.11
Corded and stuffed quilt, ca. 1800
Weft-loop woven counterpane, 1804
Corded and stuffed quilt, ca. 1800
Temperance Wren Sharp (1783- after 1850)
Temperance Wren married John Sharp in 1816, in Paint Lick, Garrard County, Kentucky. In 1851, her son, William died
at age 25. A month later, his young widow Priscilla gave birth to their daughter, Willia Sharp. Priscilla took the baby to her
father’s home in Mercer County, where grandmother Temperance and her daughter, also named Temperance, reportedly
“used to spend months on visits” to the Brewer home. Willia inherited both her grandmother’s white quilt and her aunt’s
appliqued Rose quilt.
Kentucky Museum, 1806
Weft-loop woven counterpane, ca. 1804
Elizabeth O’Neal (1786-1891)
Warp: flax; Wefts: cotton/flax blend
Elizabeth O’Neal was born in present-day Nelson County, Kentucky, in 1786. Her mother, Fannie Hall, was a weaver
whose parents had emigrated from West Yorkshire, England, to Fairfax, Virginia, around 1750. Elizabeth learned to weave
from her mother. In 1804, she wove this white counterpane in a traditional English weft-loop style which predated the
more complex Bolton counterpanes woven in neighboring Lancashire.
Kentucky Museum, KM 2021.2.1
Corded and stuffed quilt, ca. 1800
Weft-loop woven counterpane, 1804
Corded and stuffed quilt, ca. 1800
Temperance Wren Sharp (1783- after 1850)
Temperance Wren married John Sharp in 1816, in Paint Lick, Garrard County, Kentucky. In 1851, her son, William died
at age 25. A month later, his young widow Priscilla gave birth to their daughter, Willia Sharp. Priscilla took the baby to her
father’s home in Mercer County, where grandmother Temperance and her daughter, also named Temperance, reportedly
“used to spend months on visits” to the Brewer home. Willia inherited both her grandmother’s white quilt and her aunt’s
appliqued Rose quilt.
Kentucky Museum, 1806
Weft-loop woven counterpane, ca. 1804
Elizabeth O’Neal (1786-1891)
Warp: flax; Wefts: cotton/flax blend
Elizabeth O’Neal was born in present-day Nelson County, Kentucky, in 1786. Her mother, Fannie Hall, was a weaver
whose parents had emigrated from West Yorkshire, England, to Fairfax, Virginia, around 1750. Elizabeth learned to weave
from her mother. In 1804, she wove this white counterpane in a traditional English weft-loop style which predated the
more complex Bolton counterpanes woven in neighboring Lancashire.
Kentucky Museum, KM 2021.2.1
Weft-loop woven counterpane, 1800-1820
Cotton & Flax Production
Weft-loop woven counterpane, 1800-1820
Anonymous professional weaver
Cotton/flax blend
This counterpane is woven in the same weft-loop technique as those made in Bolton, Lancashire, England, but the
format and the motifs are quite different. Some Bolton weavers continued to weave counterpanes after emigrating
to the United States, where they modified motifs to suit American consumers.
Kentucky Historical Society, 2014.00.2
Weft-loop woven counterpane, 1800-1820
Cotton & Flax Production
Weft-loop woven counterpane, 1800-1820
Anonymous professional weaver
Cotton/flax blend
This counterpane is woven in the same weft-loop technique as those made in Bolton, Lancashire, England, but the
format and the motifs are quite different. Some Bolton weavers continued to weave counterpanes after emigrating
to the United States, where they modified motifs to suit American consumers.
Kentucky Historical Society, 2014.00.2
Weft-loop woven counterpane, 1800-1820
Cotton & Flax Production
Weft-loop woven counterpane, 1800-1820
Anonymous professional weaver
Cotton/flax blend
This counterpane is woven in the same weft-loop technique as those made in Bolton, Lancashire, England, but the
format and the motifs are quite different. Some Bolton weavers continued to weave counterpanes after emigrating
to the United States, where they modified motifs to suit American consumers.
Kentucky Historical Society, 2014.00.2
Embroidered tufted counterpane, ca. 1795
Bolton counterpane, 1790-1820
Embroidered counterpane, ca. 1790
Embroidered counterpane, ca. 1815
Embroidered tufted counterpane, ca. 1795
Rosannah Fisher (1781-1876)
Cotton/flax blend
Rosannah Fisher was born in Culpeper, Virginia, in 1781. She embroidered her counterpane in a design of tufts on a
handwoven ribbed fabric to reproduce the visual appearance of an imported Bolton counterpane. In 1806, at age 25,
she married Martin Hardin. They raised their nine children on a farm in Mercer County. In 1860, Rosannah was
widowed and her household included an enslaved family, identified in her late husband’s will as “Jim, Judy,
and their children.”
Kentucky Historical Society, 1981.16
Bolton counterpane, 1790—1820
Anonymous British weaver
Cotton/flax blend
This hand-woven counterpane was produced in Bolton, Lancashire, England, from American-grown cotton. One or two
weavers worked a double-wide, two-harness loom to weave a bedcover without a center seam. This example would
have been purchased as a fashionable consumer item, to be handed down as a family heirloom.
Kentucky Museum, 2857
Embroidered counterpane, ca. 1790
Anne Lyne Starling (1777-1840)
Anne Lyne Starling was born to a wealthy family in Mecklenburg County, Virginia. The flax and cotton in her counterpane
were likely produced by enslaved farmhands, spinners, and weavers. In 1793, at age 16, she married Major John Holloway,
age 31. By 1800, they were living on a 1,500-acre farm in Henderson County, Kentucky, where they raised cotton, flax, and
other crops. By 1810, their household included eighteen enslaved laborers.
Kentucky Historical Society, 1980.12.1
Embroidered counterpane, ca. 1815
Sarah “Sallie” Darrough (1797-1874)
Sallie Darrough was born in Harrison County, Kentucky in 1797. Her father, James Darrough, was born in Ireland, and
her mother, Margaret Dobie, in Pennsylvania. In 1818, at age 20, Sallie married Jacob Hedger and they established a farm
in Grant County, where they raised seven children. By 1870, the couple owned real estate and personal property valued
at $26,000. Their household included a Black female servant.
Kentucky Historical Society, 37.7
Embroidered tufted counterpane, ca. 1795
Bolton counterpane, 1790-1820
Embroidered counterpane, ca. 1790
Embroidered counterpane, ca. 1815
Embroidered tufted counterpane, ca. 1795
Rosannah Fisher (1781-1876)
Cotton/flax blend
Rosannah Fisher was born in Culpeper, Virginia, in 1781. She embroidered her counterpane in a design of tufts on a
handwoven ribbed fabric to reproduce the visual appearance of an imported Bolton counterpane. In 1806, at age 25,
she married Martin Hardin. They raised their nine children on a farm in Mercer County. In 1860, Rosannah was
widowed and her household included an enslaved family, identified in her late husband’s will as “Jim, Judy,
and their children.”
Kentucky Historical Society, 1981.16
Bolton counterpane, 1790—1820
Anonymous British weaver
Cotton/flax blend
This hand-woven counterpane was produced in Bolton, Lancashire, England, from American-grown cotton. One or two
weavers worked a double-wide, two-harness loom to weave a bedcover without a center seam. This example would
have been purchased as a fashionable consumer item, to be handed down as a family heirloom.
Kentucky Museum, 2857
Embroidered counterpane, ca. 1790
Anne Lyne Starling (1777-1840)
Anne Lyne Starling was born to a wealthy family in Mecklenburg County, Virginia. The flax and cotton in her counterpane
were likely produced by enslaved farmhands, spinners, and weavers. In 1793, at age 16, she married Major John Holloway,
age 31. By 1800, they were living on a 1,500-acre farm in Henderson County, Kentucky, where they raised cotton, flax, and
other crops. By 1810, their household included eighteen enslaved laborers.
Kentucky Historical Society, 1980.12.1
Embroidered counterpane, ca. 1815
Sarah “Sallie” Darrough (1797-1874)
Sallie Darrough was born in Harrison County, Kentucky in 1797. Her father, James Darrough, was born in Ireland, and
her mother, Margaret Dobie, in Pennsylvania. In 1818, at age 20, Sallie married Jacob Hedger and they established a farm
in Grant County, where they raised seven children. By 1870, the couple owned real estate and personal property valued
at $26,000. Their household included a Black female servant.
Kentucky Historical Society, 37.7
Embroidered tufted counterpane, ca. 1795
Bolton counterpane, 1790-1820
Embroidered counterpane, ca. 1790
Embroidered counterpane, ca. 1815
Embroidered tufted counterpane, ca. 1795
Rosannah Fisher (1781-1876)
Cotton/flax blend
Rosannah Fisher was born in Culpeper, Virginia, in 1781. She embroidered her counterpane in a design of tufts on a
handwoven ribbed fabric to reproduce the visual appearance of an imported Bolton counterpane. In 1806, at age 25,
she married Martin Hardin. They raised their nine children on a farm in Mercer County. In 1860, Rosannah was
widowed and her household included an enslaved family, identified in her late husband’s will as “Jim, Judy,
and their children.”
Kentucky Historical Society, 1981.16
Bolton counterpane, 1790—1820
Anonymous British weaver
Cotton/flax blend
This hand-woven counterpane was produced in Bolton, Lancashire, England, from American-grown cotton. One or two
weavers worked a double-wide, two-harness loom to weave a bedcover without a center seam. This example would
have been purchased as a fashionable consumer item, to be handed down as a family heirloom.
Kentucky Museum, 2857
Embroidered counterpane, ca. 1790
Anne Lyne Starling (1777-1840)
Anne Lyne Starling was born to a wealthy family in Mecklenburg County, Virginia. The flax and cotton in her counterpane
were likely produced by enslaved farmhands, spinners, and weavers. In 1793, at age 16, she married Major John Holloway,
age 31. By 1800, they were living on a 1,500-acre farm in Henderson County, Kentucky, where they raised cotton, flax, and
other crops. By 1810, their household included eighteen enslaved laborers.
Kentucky Historical Society, 1980.12.1
Embroidered counterpane, ca. 1815
Sarah “Sallie” Darrough (1797-1874)
Sallie Darrough was born in Harrison County, Kentucky in 1797. Her father, James Darrough, was born in Ireland, and
her mother, Margaret Dobie, in Pennsylvania. In 1818, at age 20, Sallie married Jacob Hedger and they established a farm
in Grant County, where they raised seven children. By 1870, the couple owned real estate and personal property valued
at $26,000. Their household included a Black female servant.
Kentucky Historical Society, 37.7
Embroidered and quilted counterpane, ca. 1790
Embroidered tufted counterpane, 1817
Embroidered and quilted counterpane, ca. 1790
Maria Upshaw (Lafon) (1772-1852)
Maria Upshaw was born in 1772 in Essex, Virginia. As a young woman, Maria first embroidered an elegant white
counterpane, then took the unusual step of turning it into a quilt, layering her embroidered panel onto batting and
backing with close rows of tiny stitches. At age 29, Maria married Captain Nicholas Lafon, her first cousin. They lived in
Frankfort before relocating to a farm in Woodford County. Maria’s eldest daughter, Mary Virginia, embroidered a
sampler, also in this exhibition.
Kentucky Historical Society, 1935.2
Embroidered tufted counterpane, dated 1817
Martha “Patsy” Henry Woodruff (1796-1817)
Cotton/flax blend
This counterpane, inscribed “Martha Woodruff, April 15, 1817,” is a rarity, as very few Kentucky women marked
their whitework textiles in this way. It is probable that Martha Henry Woodruff, age 21, recorded the date that she finished
her counterpane. On June 10 that year, she gave birth to a daughter, Emily Jane. On October 16, Martha Woodruff died,
and, according to custom, her name was given to her baby daughter: Martha Emily Jane Woodruff.
Kentucky Historical Society, 2000.21.1
Embroidered and quilted counterpane, ca. 1790
Embroidered tufted counterpane, 1817
Embroidered and quilted counterpane, ca. 1790
Maria Upshaw (Lafon) (1772-1852)
Maria Upshaw was born in 1772 in Essex, Virginia. As a young woman, Maria first embroidered an elegant white
counterpane, then took the unusual step of turning it into a quilt, layering her embroidered panel onto batting and
backing with close rows of tiny stitches. At age 29, Maria married Captain Nicholas Lafon, her first cousin. They lived in
Frankfort before relocating to a farm in Woodford County. Maria’s eldest daughter, Mary Virginia, embroidered a
sampler, also in this exhibition.
Kentucky Historical Society, 1935.2
Embroidered tufted counterpane, dated 1817
Martha “Patsy” Henry Woodruff (1796-1817)
Cotton/flax blend
This counterpane, inscribed “Martha Woodruff, April 15, 1817,” is a rarity, as very few Kentucky women marked
their whitework textiles in this way. It is probable that Martha Henry Woodruff, age 21, recorded the date that she finished
her counterpane. On June 10 that year, she gave birth to a daughter, Emily Jane. On October 16, Martha Woodruff died,
and, according to custom, her name was given to her baby daughter: Martha Emily Jane Woodruff.
Kentucky Historical Society, 2000.21.1
Embroidered and quilted counterpane, ca. 1790
Embroidered tufted counterpane, 1817
Embroidered and quilted counterpane, ca. 1790
Maria Upshaw (Lafon) (1772-1852)
Maria Upshaw was born in 1772 in Essex, Virginia. As a young woman, Maria first embroidered an elegant white
counterpane, then took the unusual step of turning it into a quilt, layering her embroidered panel onto batting and
backing with close rows of tiny stitches. At age 29, Maria married Captain Nicholas Lafon, her first cousin. They lived in
Frankfort before relocating to a farm in Woodford County. Maria’s eldest daughter, Mary Virginia, embroidered a
sampler, also in this exhibition.
Kentucky Historical Society, 1935.2
Embroidered tufted counterpane, dated 1817
Martha “Patsy” Henry Woodruff (1796-1817)
Cotton/flax blend
This counterpane, inscribed “Martha Woodruff, April 15, 1817,” is a rarity, as very few Kentucky women marked
their whitework textiles in this way. It is probable that Martha Henry Woodruff, age 21, recorded the date that she finished
her counterpane. On June 10 that year, she gave birth to a daughter, Emily Jane. On October 16, Martha Woodruff died,
and, according to custom, her name was given to her baby daughter: Martha Emily Jane Woodruff.
Kentucky Historical Society, 2000.21.1
Embroidered counterpane, ca. 1790
Tufted embroidered counterpane, ca. 1805
Embroidered counterpane, ca. 1790
Miriam Elmina Helm (1777-1868)
Miriam Elmina Helm was born in Virginia in 1777 and came with her family to Kentucky. She created this elegant
counterpane sometime before her marriage to Jacob Wright in 1797. By 1820, Miriam and Jacob and their 13 children
were living in Smiths Grove, Warren County. A granddaughter recalled, “Grandmother took great pains to teach her girls
the art of spinning, weaving, and knitting. She did beautiful work herself. I have a counterpane for which she spun the
thread, wove the cloth, and then embroidered, when a young girl. Grandmother wanted each of her girls to be
a fine hand with a needle.”
Kentucky Museum, 1987.86.1
Tufted embroidered counterpane, ca. 1805
Charlotte Briggs (1795-1862)
Charlotte Briggs was born in Virginia, then moved to Warren County, Kentucky. She likely made this counterpane
before her marriage to Thomas Stephens in 1817. By the time the counterpane came into the possession of Charlotte’s
granddaughter, Ora Susan Stephens Davenport (1866-1936), it had suffered from neglect, misuse, and damage.
To preserve it, Ora Davenport washed the tattered remnants and carefully stitched them onto a new backing.
Kentucky Museum, 1979.1.1
Embroidered counterpane, ca. 1790
Tufted embroidered counterpane, ca. 1805
Embroidered counterpane, ca. 1790
Miriam Elmina Helm (1777-1868)
Miriam Elmina Helm was born in Virginia in 1777 and came with her family to Kentucky. She created this elegant
counterpane sometime before her marriage to Jacob Wright in 1797. By 1820, Miriam and Jacob and their 13 children
were living in Smiths Grove, Warren County. A granddaughter recalled, “Grandmother took great pains to teach her girls
the art of spinning, weaving, and knitting. She did beautiful work herself. I have a counterpane for which she spun the
thread, wove the cloth, and then embroidered, when a young girl. Grandmother wanted each of her girls to be
a fine hand with a needle.”
Kentucky Museum, 1987.86.1
Tufted embroidered counterpane, ca. 1805
Charlotte Briggs (1795-1862)
Charlotte Briggs was born in Virginia, then moved to Warren County, Kentucky. She likely made this counterpane
before her marriage to Thomas Stephens in 1817. By the time the counterpane came into the possession of Charlotte’s
granddaughter, Ora Susan Stephens Davenport (1866-1936), it had suffered from neglect, misuse, and damage.
To preserve it, Ora Davenport washed the tattered remnants and carefully stitched them onto a new backing.
Kentucky Museum, 1979.1.1
Flax comb
Eli Whitney's patent for the cotton gin
Notions bag
Flax
Flax Comb, 1750-1800, made in Pennsylvania.
Gift of Mrs. Robert W. deforest, 1933. Metropolitan Museum of Art, 34.100.51.
Eli Whitney's Patent for the Cotton Gin, March 14, 1794;
Records of the Patent and Trademark Office; Record Group 241, National Archives.
Polly Darling, Untitled (Polly Darling Aged 11 Years, notions bag), ca. 1800-1825, cotton.
This notions bag is an example of other types of whitework created by girls and women in the Early Republic.
Smithsonian American Art Museum, Gift of Patricia Sue Smith, 2016.57.13.
Flax, n.d.
Flax fibers were processed to separate out the short two and long flax fibers
with the latter spun into threads using a flax wheel.
Flax comb
Eli Whitney's patent for the cotton gin
Notions bag
Flax
Flax Comb, 1750-1800, made in Pennsylvania.
Gift of Mrs. Robert W. deforest, 1933. Metropolitan Museum of Art, 34.100.51.
Eli Whitney's Patent for the Cotton Gin, March 14, 1794;
Records of the Patent and Trademark Office; Record Group 241, National Archives.
Polly Darling, Untitled (Polly Darling Aged 11 Years, notions bag), ca. 1800-1825, cotton.
This notions bag is an example of other types of whitework created by girls and women in the Early Republic.
Smithsonian American Art Museum, Gift of Patricia Sue Smith, 2016.57.13.
Flax, n.d.
Flax fibers were processed to separate out the short two and long flax fibers
with the latter spun into threads using a flax wheel.
White Women
Empire dress, ca. 1815
Empire Dress, ca. 1815
Popular from 1790 to 1820, the Empire style in women’s fashion featured a flowing, loosely structured silhouette
inspired by archeological discoveries of classical Greek and Roman statuary. Often made of fine white batiste or
muslin, Empire dresses had low-cut necklines or décolleté, were gathered under the bustline, and included little or
no embellishment. As white was an impractical color for outerwear, wearing it was often limited to women
of higher social status.
Family tradition records that Catharine E. Whitesides (1824-1910) of Turkey Neck Bend, Monroe County, Kentucky,
wore the dress at her marriage to Varney F. Andrews (1819-1902). Given the popularity of the style before
Catharine’s birth, it may be a family heirloom that was originally worn by her mother or grandmother.
White Women
Empire dress, ca. 1815
Empire Dress, ca. 1815
Popular from 1790 to 1820, the Empire style in women’s fashion featured a flowing, loosely structured silhouette
inspired by archeological discoveries of classical Greek and Roman statuary. Often made of fine white batiste or
muslin, Empire dresses had low-cut necklines or décolleté, were gathered under the bustline, and included little or
no embellishment. As white was an impractical color for outerwear, wearing it was often limited to women
of higher social status.
Family tradition records that Catharine E. Whitesides (1824-1910) of Turkey Neck Bend, Monroe County, Kentucky,
wore the dress at her marriage to Varney F. Andrews (1819-1902). Given the popularity of the style before
Catharine’s birth, it may be a family heirloom that was originally worn by her mother or grandmother.
White Women
Empire dress, ca. 1815
Empire Dress, ca. 1815
Popular from 1790 to 1820, the Empire style in women’s fashion featured a flowing, loosely structured silhouette
inspired by archeological discoveries of classical Greek and Roman statuary. Often made of fine white batiste or
muslin, Empire dresses had low-cut necklines or décolleté, were gathered under the bustline, and included little or
no embellishment. As white was an impractical color for outerwear, wearing it was often limited to women
of higher social status.
Family tradition records that Catharine E. Whitesides (1824-1910) of Turkey Neck Bend, Monroe County, Kentucky,
wore the dress at her marriage to Varney F. Andrews (1819-1902). Given the popularity of the style before
Catharine’s birth, it may be a family heirloom that was originally worn by her mother or grandmother.
Man’s fall front trousers, ca. 1800
White Women
Man’s fall front trousers, ca. 1800
Linen
First worn by sailors and the working class, trousers gained acceptance as menswear in the 19th century,
replacing the wearing of knee breeches by all social classes. Tightly fitted around the waist and lacking belt
loops, they typically fit more loosely in the back. Their name derives from the front panel which the
wearer could drop when necessary.
According to family tradition, French immigrant and eventual Kentucky resident Abraham Miller wore this
pair of trousers at his wedding in October 1800 in the Shenandoah Valley of Virginia. The donor received
them from his great-grandmother in 1929 after he became the first great-grandchild tall enough to wear them.
Man’s fall front trousers, ca. 1800
White Women
Man’s fall front trousers, ca. 1800
Linen
First worn by sailors and the working class, trousers gained acceptance as menswear in the 19th century,
replacing the wearing of knee breeches by all social classes. Tightly fitted around the waist and lacking belt
loops, they typically fit more loosely in the back. Their name derives from the front panel which the
wearer could drop when necessary.
According to family tradition, French immigrant and eventual Kentucky resident Abraham Miller wore this
pair of trousers at his wedding in October 1800 in the Shenandoah Valley of Virginia. The donor received
them from his great-grandmother in 1929 after he became the first great-grandchild tall enough to wear them.
Man’s fall front trousers, ca. 1800
White Women
Man’s fall front trousers, ca. 1800
Linen
First worn by sailors and the working class, trousers gained acceptance as menswear in the 19th century,
replacing the wearing of knee breeches by all social classes. Tightly fitted around the waist and lacking belt
loops, they typically fit more loosely in the back. Their name derives from the front panel which the
wearer could drop when necessary.
According to family tradition, French immigrant and eventual Kentucky resident Abraham Miller wore this
pair of trousers at his wedding in October 1800 in the Shenandoah Valley of Virginia. The donor received
them from his great-grandmother in 1929 after he became the first great-grandchild tall enough to wear them.
Sampler by Elizabeth Huston, 1807
Samplers
Schoolgirl Sampler, dated 1821
Quilted table cover, ca. 1790
Embroidered counterpane, ca. 1810
White "practice" sampler, 1860-1900
Sampler by Martha Ann Viley, 1833
Sampler by Mary Johnson, 1810-1815
Sampler by Elizabeth Huston, 1807.
Collection of the Speed Art Museum, from the Noe Collection, Gift of Bob and Norma Noe, Lancaster, Kentucky, 2011.9.19.
Schoolgirl sampler, dated 1821
Mary Virginia Lafon Jackson (1808—1880)
Mary Virginia Lafon embroidered this sampler at the age of 13. The text comes from a poem, “To a Young Lady,”
attributed to “Cotton,” possibly a pseudonym for Cotton Mather (1663-1728), a New England clergyman and poet.
Such verses were frequently published in early 19th century schoolbooks.
Mark, my Mary, how the roses
Emulate thy Damask cheek;
How the bud its sweets discloses—
Buds thy opening bloom bespeak.
Lilies are, by plain direction,
Emblems of a double kind;
Emblems of thy fair complexion,
Emblems of thy fairer mind.
But, dear girl, both flowers and beauty
Blossom, fade, and die away:
Then pursue good sense and duty,
Evergreens, which ne’er decay!
Quilted table cover, ca. 1790
Anne Lyne Starling (1777-1840)
In addition to her embroidered counterpane, Anne Starling also made a cover for a dressing table.
This item would have been called a “toilet,” from the French word toile, meaning fabric. It is exquisitely
quilted, with some elements raised by inserting cording between rows of stitching.
Kentucky Historical Society, 1980.12.2
Embroidered counterpane, ca. 1810
Anonymous needleworker
In 1981, the staff at the Kentucky Historical Society discovered this counterpane among a trove of
uncatalogued early donations. The unknown maker learned to embroider from a skilled instructor, who
probably drew the elegant design. Whoever she was, we know that the counterpane was treasured by
her descendants, who preserved it in pristine condition.
Kentucky Historical Society, 81.19
White “practice” sampler, 1860-1900
Anonymous needleworker
In contrast with the formal samplers made by schoolgirls in female academies, this appears to be an informal
practice sampler. The unknown maker started with a piece of linen toweling, stitching over designs marked in ink,
probably drawn by a more experienced seamstress.
Kentucky Historical Society, 1976.1.46
Sampler by Martha Ann Viley, 1833, completed at St. Catherine’s Academy in Scott County, Kentucky.
Courtesy Museum of Early Southern Decorative Arts, 5800.3
Sampler by Mary Johnson, 1810-1815, Ohio County, Kentucky.
Courtesy Museum of Early Southern Decorative Arts, 5829.3.
Sampler by Elizabeth Huston, 1807
Samplers
Schoolgirl Sampler, dated 1821
Quilted table cover, ca. 1790
Embroidered counterpane, ca. 1810
White "practice" sampler, 1860-1900
Sampler by Martha Ann Viley, 1833
Sampler by Mary Johnson, 1810-1815
Sampler by Elizabeth Huston, 1807.
Collection of the Speed Art Museum, from the Noe Collection, Gift of Bob and Norma Noe, Lancaster, Kentucky, 2011.9.19.
Schoolgirl sampler, dated 1821
Mary Virginia Lafon Jackson (1808—1880)
Mary Virginia Lafon embroidered this sampler at the age of 13. The text comes from a poem, “To a Young Lady,”
attributed to “Cotton,” possibly a pseudonym for Cotton Mather (1663-1728), a New England clergyman and poet.
Such verses were frequently published in early 19th century schoolbooks.
Mark, my Mary, how the roses
Emulate thy Damask cheek;
How the bud its sweets discloses—
Buds thy opening bloom bespeak.
Lilies are, by plain direction,
Emblems of a double kind;
Emblems of thy fair complexion,
Emblems of thy fairer mind.
But, dear girl, both flowers and beauty
Blossom, fade, and die away:
Then pursue good sense and duty,
Evergreens, which ne’er decay!
Quilted table cover, ca. 1790
Anne Lyne Starling (1777-1840)
In addition to her embroidered counterpane, Anne Starling also made a cover for a dressing table.
This item would have been called a “toilet,” from the French word toile, meaning fabric. It is exquisitely
quilted, with some elements raised by inserting cording between rows of stitching.
Kentucky Historical Society, 1980.12.2
Embroidered counterpane, ca. 1810
Anonymous needleworker
In 1981, the staff at the Kentucky Historical Society discovered this counterpane among a trove of
uncatalogued early donations. The unknown maker learned to embroider from a skilled instructor, who
probably drew the elegant design. Whoever she was, we know that the counterpane was treasured by
her descendants, who preserved it in pristine condition.
Kentucky Historical Society, 81.19
White “practice” sampler, 1860-1900
Anonymous needleworker
In contrast with the formal samplers made by schoolgirls in female academies, this appears to be an informal
practice sampler. The unknown maker started with a piece of linen toweling, stitching over designs marked in ink,
probably drawn by a more experienced seamstress.
Kentucky Historical Society, 1976.1.46
Sampler by Martha Ann Viley, 1833, completed at St. Catherine’s Academy in Scott County, Kentucky.
Courtesy Museum of Early Southern Decorative Arts, 5800.3
Sampler by Mary Johnson, 1810-1815, Ohio County, Kentucky.
Courtesy Museum of Early Southern Decorative Arts, 5829.3.
Woven counterpane, ca. 1823
Enslaved Black Artisans
The Strange Family
Woven counterpane, ca. 1823
Anonymous Enslaved Weaver
Cotton/flax blend
This counterpane, handed down in one family, is a rare, surviving example of work attributed to unnamed
enslaved artisans. The family narrative states that “slaves made the thread from cotton and wove the coverlet”
for Mary Leftwich Strange for her wedding in 1823.
Kentucky Historical Society, 1993.10.2
Broadside announcing the sale of enslaved people in Mercer County, Kentucky, 1836.
Liljenquist Family Collection, Smithsonian National Museum of African American History and Culture.
Woven counterpane, ca. 1823
Enslaved Black Artisans
The Strange Family
Woven counterpane, ca. 1823
Anonymous Enslaved Weaver
Cotton/flax blend
This counterpane, handed down in one family, is a rare, surviving example of work attributed to unnamed
enslaved artisans. The family narrative states that “slaves made the thread from cotton and wove the coverlet”
for Mary Leftwich Strange for her wedding in 1823.
Kentucky Historical Society, 1993.10.2
Broadside announcing the sale of enslaved people in Mercer County, Kentucky, 1836.
Liljenquist Family Collection, Smithsonian National Museum of African American History and Culture.
Quilt with center medallion, ca. 1850
Embroidered counterpane, dated 1907
Medallion quilt, ca. 1940
Tufted embroidered counterpane, ca. 1820
Tufted embroidered counterpane, ca. 1805
Embroidered counterpane, ca. 1790
Quilt with center medallion, ca. 1850
Harriet Legran Bates (1827-after 1880)
Harriet Legran Bates was born in Wayne County, Kentucky. By 1880, widowed and childless, she had returned to the
family farm, headed by her widowed sister, Patience Jane Bates Simpson. The central medallion of Harriet’s white quilt
features cornucopias of pomegranates, grape bunches, and sheaves of grain. The DAR Museum owns two quilts with
nearly identical center designs, both of which were made in Wayne County.
Kentucky Museum, 2002.11.1
Embroidered counterpane, dated 1907
Bettie Whitney Napier (1862-1916)
Betty Whitney was born in Allen County, the fourth of twelve children. She married Charles Napier, and they lived in
Liberty, Casey County. In 1900, Bettie was widowed and living in Scottsville, and described as a merchant, probably
selling needlecraft supplies. Bettie executed the embroidery with great skill and artistry on a pre-stamped design on
linen, adding an initial N and the year 1907.
Kentucky Museum, 1993.14
Medallion quilt, ca. 1940
Gertrude Marie LaWarre Reuter (1898-1993)
Gertrude Reuter sewed and embroidered as a girl, but she did not discover quilting until she was in her 30s.
She became a professional quilter to support her family, making quilts to order, often from the Mountain Mist
Batting Company. Of the several hundred quilts she made, the majority were appliqué patterns. This is the
only white wholecloth quilt she ever made.
Kentucky Museum, 1999.44.7
Tufted embroidered counterpane, ca. 1820
Anonymous needleworker
Tufted embroidered bedcovers first appeared in the late-18th century, inspired by woven counterpanes, such as examples
elsewhere in this exhibition. Early examples typically mixed tufting with other stitches. This bedcover, from a later period,
is covered with dense, high tufts in a bold, asymmetrical design of large, stylized flowers and leaves.
Kentucky Historical Society, 81.17
Tufted embroidered counterpane, ca. 1805
Charlotte Briggs (1795-1862)
Charlotte Briggs was born in Virginia, then moved to Warren County, Kentucky. She likely made this counterpane
before her marriage to Thomas Stephens in 1817. By the time the counterpane came into the possession of Charlotte’s
granddaughter, Ora Susan Stephens Davenport (1866-1936), it had suffered from neglect, misuse, and damage.
To preserve it, Ora Davenport washed the tattered remnants and carefully stitched them onto a new backing.
Kentucky Museum, 1979.1.1
Embroidered counterpane, ca. 1790
Miriam Elmina Helm (1777-1868)
Miriam Elmina Helm was born in Virginia in 1777 and came with her family to Kentucky. She created this elegant
counterpane sometime before her marriage to Jacob Wright in 1797. By 1820, Miriam and Jacob and their 13 children
were living in Smiths Grove, Warren County. A granddaughter recalled, “Grandmother took great pains to teach her girls
the art of spinning, weaving, and knitting. She did beautiful work herself. I have a counterpane for which she spun the
thread, wove the cloth, and then embroidered, when a young girl. Grandmother wanted each of her girls to be
a fine hand with a needle.”
Kentucky Museum, 1987.86.1
Quilt with center medallion, ca. 1850
Embroidered counterpane, dated 1907
Medallion quilt, ca. 1940
Tufted embroidered counterpane, ca. 1820
Tufted embroidered counterpane, ca. 1805
Embroidered counterpane, ca. 1790
Quilt with center medallion, ca. 1850
Harriet Legran Bates (1827-after 1880)
Harriet Legran Bates was born in Wayne County, Kentucky. By 1880, widowed and childless, she had returned to the
family farm, headed by her widowed sister, Patience Jane Bates Simpson. The central medallion of Harriet’s white quilt
features cornucopias of pomegranates, grape bunches, and sheaves of grain. The DAR Museum owns two quilts with
nearly identical center designs, both of which were made in Wayne County.
Kentucky Museum, 2002.11.1
Embroidered counterpane, dated 1907
Bettie Whitney Napier (1862-1916)
Betty Whitney was born in Allen County, the fourth of twelve children. She married Charles Napier, and they lived in
Liberty, Casey County. In 1900, Bettie was widowed and living in Scottsville, and described as a merchant, probably
selling needlecraft supplies. Bettie executed the embroidery with great skill and artistry on a pre-stamped design on
linen, adding an initial N and the year 1907.
Kentucky Museum, 1993.14
Medallion quilt, ca. 1940
Gertrude Marie LaWarre Reuter (1898-1993)
Gertrude Reuter sewed and embroidered as a girl, but she did not discover quilting until she was in her 30s.
She became a professional quilter to support her family, making quilts to order, often from the Mountain Mist
Batting Company. Of the several hundred quilts she made, the majority were appliqué patterns. This is the
only white wholecloth quilt she ever made.
Kentucky Museum, 1999.44.7
Tufted embroidered counterpane, ca. 1820
Anonymous needleworker
Tufted embroidered bedcovers first appeared in the late-18th century, inspired by woven counterpanes, such as examples
elsewhere in this exhibition. Early examples typically mixed tufting with other stitches. This bedcover, from a later period,
is covered with dense, high tufts in a bold, asymmetrical design of large, stylized flowers and leaves.
Kentucky Historical Society, 81.17
Tufted embroidered counterpane, ca. 1805
Charlotte Briggs (1795-1862)
Charlotte Briggs was born in Virginia, then moved to Warren County, Kentucky. She likely made this counterpane
before her marriage to Thomas Stephens in 1817. By the time the counterpane came into the possession of Charlotte’s
granddaughter, Ora Susan Stephens Davenport (1866-1936), it had suffered from neglect, misuse, and damage.
To preserve it, Ora Davenport washed the tattered remnants and carefully stitched them onto a new backing.
Kentucky Museum, 1979.1.1
Embroidered counterpane, ca. 1790
Miriam Elmina Helm (1777-1868)
Miriam Elmina Helm was born in Virginia in 1777 and came with her family to Kentucky. She created this elegant
counterpane sometime before her marriage to Jacob Wright in 1797. By 1820, Miriam and Jacob and their 13 children
were living in Smiths Grove, Warren County. A granddaughter recalled, “Grandmother took great pains to teach her girls
the art of spinning, weaving, and knitting. She did beautiful work herself. I have a counterpane for which she spun the
thread, wove the cloth, and then embroidered, when a young girl. Grandmother wanted each of her girls to be
a fine hand with a needle.”
Kentucky Museum, 1987.86.1
Quilt with center medallion, ca. 1850
Embroidered counterpane, dated 1907
Medallion quilt, ca. 1940
Tufted embroidered counterpane, ca. 1820
Tufted embroidered counterpane, ca. 1805
Embroidered counterpane, ca. 1790
Quilt with center medallion, ca. 1850
Harriet Legran Bates (1827-after 1880)
Harriet Legran Bates was born in Wayne County, Kentucky. By 1880, widowed and childless, she had returned to the
family farm, headed by her widowed sister, Patience Jane Bates Simpson. The central medallion of Harriet’s white quilt
features cornucopias of pomegranates, grape bunches, and sheaves of grain. The DAR Museum owns two quilts with
nearly identical center designs, both of which were made in Wayne County.
Kentucky Museum, 2002.11.1
Embroidered counterpane, dated 1907
Bettie Whitney Napier (1862-1916)
Betty Whitney was born in Allen County, the fourth of twelve children. She married Charles Napier, and they lived in
Liberty, Casey County. In 1900, Bettie was widowed and living in Scottsville, and described as a merchant, probably
selling needlecraft supplies. Bettie executed the embroidery with great skill and artistry on a pre-stamped design on
linen, adding an initial N and the year 1907.
Kentucky Museum, 1993.14
Medallion quilt, ca. 1940
Gertrude Marie LaWarre Reuter (1898-1993)
Gertrude Reuter sewed and embroidered as a girl, but she did not discover quilting until she was in her 30s.
She became a professional quilter to support her family, making quilts to order, often from the Mountain Mist
Batting Company. Of the several hundred quilts she made, the majority were appliqué patterns. This is the
only white wholecloth quilt she ever made.
Kentucky Museum, 1999.44.7
Tufted embroidered counterpane, ca. 1820
Anonymous needleworker
Tufted embroidered bedcovers first appeared in the late-18th century, inspired by woven counterpanes, such as examples
elsewhere in this exhibition. Early examples typically mixed tufting with other stitches. This bedcover, from a later period,
is covered with dense, high tufts in a bold, asymmetrical design of large, stylized flowers and leaves.
Kentucky Historical Society, 81.17
Tufted embroidered counterpane, ca. 1805
Charlotte Briggs (1795-1862)
Charlotte Briggs was born in Virginia, then moved to Warren County, Kentucky. She likely made this counterpane
before her marriage to Thomas Stephens in 1817. By the time the counterpane came into the possession of Charlotte’s
granddaughter, Ora Susan Stephens Davenport (1866-1936), it had suffered from neglect, misuse, and damage.
To preserve it, Ora Davenport washed the tattered remnants and carefully stitched them onto a new backing.
Kentucky Museum, 1979.1.1
Embroidered counterpane, ca. 1790
Miriam Elmina Helm (1777-1868)
Miriam Elmina Helm was born in Virginia in 1777 and came with her family to Kentucky. She created this elegant
counterpane sometime before her marriage to Jacob Wright in 1797. By 1820, Miriam and Jacob and their 13 children
were living in Smiths Grove, Warren County. A granddaughter recalled, “Grandmother took great pains to teach her girls
the art of spinning, weaving, and knitting. She did beautiful work herself. I have a counterpane for which she spun the
thread, wove the cloth, and then embroidered, when a young girl. Grandmother wanted each of her girls to be
a fine hand with a needle.”
Kentucky Museum, 1987.86.1
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Even Coverlets Get the Blues
Photo by Clinton Lewis
Kentucky Stair runner, 1949
Arline (Perkins) Rawlins, 1899-1962, Warren County
Rug Hooking
Arline (Perkins) Rawlins of Bowling Green won national recognition as a hooked rug
designer who did business under the name Nine Hearths Hooked Rug Designs.
During the late 1940s and early 1950s, articles she wrote on rug hooking and her
designs appeared in several national magazines, including American Home,
Woman's Day, Farm and Ranch and Family Circle. Many of Rawlins' patterns include
floral elements, likely an extension of her work as a nationally known flower and
garden judge. Celebrating the history and heritage of the Commonwealth, the
Kentucky Stair Runner is perhaps her masterwork, winning first place at the 1949
Kentucky State Fair.
Alicia McFarland Estate, Bowling Green, KY
Arline Rawlins' stair runner at her home in Bowling Green.
Courtesy of Library Special Collections, WKU
Pine Bloom
Anonymous
Overshot
According to weaving historian Lou Tate, Pine Bloom is found is found in many
collections. Other names it goes by range from Pine Burr and Pine Knot to
Kaintuck [sic] Beauty and Soldiers Return. The differences between this
pattern and the Sea Star coverlet elsewhere in this exhibit are, as is often the
case with many overshot coverlet patterns, extremely subtle. This coverlet
may have been woven by a member of the Helm family of Butler, Logan, and
Warren counties.
Unidentified Pattern
Howard Family Member, Monroe County
Overshot
Based on the classic Double Bowknot motif, this striking coverlet helps illustrate the color choices
home weavers faced during the 19th century. While they hadready access to indigo, a relatively
inexpensive dyestuff with excellent colorfast properties, the preferred options for dyeing wool red
– madder and cochineal – were more expensive. Brazilwood, a lesser dyestuff that was not as
colorfast, was a third option. In contrast to this single handwoven primarily red coverlet, the
Kentucky Museum's holdings include 11 two-color indigo and natural overshot coverlets.
Wilma Klein, New Albany, IN
Tennessee Trouble (Variation)
Mary Mates (Sylvester) Rhodes, 1830-1906, Allen County, KY
Overshot
Tennessee Trouble typically includes diamond-shaped wheels clustered or grouped together, but
in this variation, they are arranged in rows. This example does include the nearly universal divided
table, however. The use of "Tennessee" as part of the pattern name occurs at least six times, the
result perhaps of the longstanding tradition of coverlet weaving in the state of Tennessee. Besides
Tennessee Trouble, other uses include Tennessee Trouble in North Carolina, Tennessee Circles,
Tennessee Flower, and Tennessee Lace. As with many family pieces, the coverlet on exhibit
descended through several generations before its donation to the Kentucky Museum in 1998.
Whig Rose, 1825-1860
Anonymous
Double Weave
Double weave is a compound weave structure consisting of two sets of warps and wefts that
interconnect at specific points in the pattern, producing a reversible textile. The pattern of this
example is Whig Rose, perhaps a reference to political events surrounding the 19th century Whig
Political Party once led by Kentucky senator Henry Clay. Reproducible using many weaving
techniques, the Whig Rose design was also popular with 19th century quiltmakers. This example is
one of two panels in the collection that were woven as a single textile and cut but never sewn
together to create a finished coverlet.
Calvert Estate, Bowling Green, KY
Two Lilies and Sunburst with Bird and Bush Border, 1839
John Mellinger, abt. 1800-1888, Pennsylvania
Tied Beiderwand
Professional weavers used many of the same patterns for figured and fancy coverlets, including
the design of the coverlet on exhibit. Its major elements – Double Lily, Sunburst, and the Bird and
Bush (Distelfink and Rose Bush) border – appear in other patterns as well. Mellinger self-
advertised his work, signing the corner blocks in the style typical of coverlets produced by
Mennonite and immigrant German weavers from Pennsylvania. The coverlet on display is
particularly noteworthy given its use as the frontispiece of A Book of Hand-Woven Coverlets by
noted Bowling Green author Eliza Calvert Hall (Lida Calvert Obenchain).
Mrs. Sarah (Gilbert) Garris, Bowling Green, KY
Double Roses and Stars with Baskets of Fruit Border, 1861
Dennis Cosley, 1816-1904, Kentucky
Tied Beiderwand
Documentation of the work of professional weavers in Kentucky is limited. A Virginia native,
Dennis Cosley worked in Pennsylvania before moving to Greene County, Ohio, after 1845. Like
most professional weavers, he used standard centerfield and border motifs such as the ones used
in this coverlet. Cosley also wove in two, three, and four-color combinations. Known examples of
his work date between 1845 and 1862 with the Kentucky Museum’s coverlet dated 1861. How
long he worked in Kentucky is unknown, but a second coverlet dated 1861 and one dated 1862
have been documented.
James L. Young, Murfreesboro, TN
Sea Star or Seven Stars
Anonymous
Overshot
Nineteenth century weavers took rigorous steps to prepare and process wool and cotton into
yarns. For this coverlet panel, the weft yarns were dyed a dark blue using indigo, the most
colorfast and widely available natural dye from the 1700s through the 1800s. The McReynolds
Family which had ties to Todd County, KY, followed this recipe for dying with indigo:
For 3 pounds of Blue wool or yarn take one ounce
of Indigo and grind it fine.
Put 4 ounces of oil of vitriol in a bowl
a little at a time and stirring well until
the Indigo is all well mixed with the acid
this mixture must stand twenty four [sic]
hours then boil the water put the mixture
into it then put in your goods for 5
minutes and it is done.
[Allum your goods before you put it in]
McReynolds Family Papers
Library Special Collections, WKU
Margie Helm, Bowing Green, KY
Lee’s Surrender
Anonymous
Overshot
Current and past events often inspired the names of 19th century coverlet patterns. Braddock’s
Defeat, Washington’s Victory, Bonaparte’s Retreat, Travis’ Favorite, Mexican Banner, and the
pattern of this remnant – Lee’s Surrender – are just a few of the designs that speak to public
awareness of American history from the French and Indian Wars to the U.S. Civil War. Although
time was not kind to this fragment, a previous owner repurposed it into a pillowcase.
Bertha (Young) Jones, Bowling Green, KY
Liddie Prince’s Thirteen Squares
Elizabeth (Hendricks) Sisson, b.1844, Henderson County, KY
Overshot
Indigo and red weft yarns floating over natural cotton warp yarns create a geometry lesson in this
coverlet. The fact that it was constructed from three panels that do not match up precisely does
not lessen the overall impact. This textile is attributed to a farmer’s wife from Henderson County,
who ran a household that included seven children in 1880.
Dr. Henry Hardin, Bowling Green, KY
Double Bow Knot
Anonymous
Overshot
Panels woven on narrow, four-harness looms were the building blocks of 19th century overshot
coverlets. After weaving enough fabric for two to three panels of the desired length, the weaver
cut the cloth into sections and sewed the panels together, typically using a simple butt seam. This
example was woven from indigo and natural cotton yarns, perhaps the most popular of the color
combinations available to rural weavers in 19th century America. This was due in large part to the
availability and colorfastness of indigo dyestuffs. The panel on exhibit was woven in the
frequently used Bow Knot motif, variations of which include Muscadine Hills, Hickory Leaf, and
Blooming Leaf. This motif was also used in two other textiles in this exhibit.
Bena (Allen) Farnsworth, Bowling Green, KY
Scottie Hooked Rug Canvas, late 1940s
A popular 20th century craft, for many the appeal of rug hooking lay in how it was “turning the
clock back to early American days.” Crafters could come up with original designs, use the patterns
published in women’s magazines or purchase pre-printed canvases and kits. Purchased by Hazel
(Yowell) Wilcher (1910-2002) of Bradfordsville, KY, this Wonder Art “Scottie” burlap canvas called
for 35 skeins of “Needlequeen” wool yarn in seven colors.
LaJuana S. Wilcher, Alvaton, KY
Larry Wilcher, Scottsville, KY
Lover’s Knot with Pine Tree Border, ca. 1825-1850
Anonymous
Double Weave
Double weave patterns are classified as geometric or figured and fancy. An example of the
former, this coverlet was likely woven in Ohio by one of the many professional weavers who
migrated from New York and New England to less settled areas of the United States and Canada
after 1825. The main pattern elements, Lover’s Knot and Pine Tree, were woven into many
coverlets between 1825 and 1850, the heyday of double weave. A two-color version in indigo and
natural known as Virginia Beauty with Pine Tree Border, circa 1825, is in the collection of the
Metropolitan Museum of Art.
Evelyn Allen, Bowling Green, KY
Governor’s Garden
Mary Ann (Rose) Riley, 1829-1894, Logan County
Overshot
Woven on a four-harness loom, this coverlet is typical of the overshot bedcoverings made in 19th
century rural America. Dozens of patterns were possible on these looms, and home weavers often
chose designs whose names suggested the natural world around them. In her book on
handwoven coverlets, author Eliza Calvert Hall identified at least eleven botanical patterns
associated with Kentucky – Rose in the Wilderness; Dogwood Blossom; Rose of Kentucky; Lemon
Leaf; Twining Vine; Granny’s Garden; Flowers of Edinboro; Trailing Vine; Rose of Sharon; and Pine
Bloom. The maker of this textile was a farmer’s wife who bore ten children and reportedly raised
the sheep and the cotton that provided the raw materials used in it.
James Riley Huff, Park Forest, IL
Cover of minute book from Kentucky Weavers' Guild
Courtesy of Library Special Collections, WKU
Zella Brown of Bowling Green working at her loom, 1961.
Courtesy of Library Special Collections, WKU
Beatrice Richards demonstrating weaving at Fountain Square, downtown Bowling Green.
Courtesy of Library Special Collections, WKU
Bea Richards (1900-1989) of Bowling Green became interested in weaving after she began
working at Berea College in the late 1920s. A founding member of the Kentucky Weavers of
Bowling Green, she wove a variety of textiles and was active in the arts and crafts program
at First Baptist Church in Bowling Green.
Courtesy of Library Special Collections, WKU
"Oh yes, I can't weave without colors. I guess I'm probably the only one in our little weaving
club that would ever dabble with color, but since I also do, or used to do a lot of painting, I
just have to have color. I like color all around me and I'm not afraid to use it, although I
doubt I know the rules, but whatever. I just do it."
Courtesy of Library Special Collections, WKU
Bedspread
Gwendolyn Anderson, 1916-1989, Butler County
Loop Weaving
During the mid-20th century, small handheld metal looms for weaving small projects were
popular with women and children. In business since 1917, the Wool Novelty Company of New
York advertised looms that could be used to transform loops of jersey into potholders, placemats,
doilies, rugs, and dolls. Other firms sold looms with patterns for making bath mats, bags, and
luncheon sets. The bedspread on exhibit was reportedly made using fabric from the nearby
Auburn Hosiery Mill in Logan County. Loop weaving remains popular today as a craft activity,
particularly with children.
Marilyn Anderson, Bowling Green, KY
Cat Tracks and Snail Trails
Anonymous
Overshot
Lou Tate, founder of the Little Loom House in Louisville, identified 25 additional names for this
pattern. Fourteen, including Cats [sic] Paw, Dog Tracks, and Rattlesnake Skin, reference the
“animal” qualities of the design; six others, such as Blooming Vine and Vine around the Stump,
incorporate “Vine” into the pattern name. Old Girl is the oddest name she documented.
Identifying the weavers of overshot coverlets is generally difficult as home weavers did not sign
their work. Family history attributes this example to Caroline Dabney Alexander (1810-1838) of
Cumberland County.
Marjorie Claggett, Bowling Green, KY
Advertisement for Churchill Weavers in Vogue Magazine, September 1948.
Courtesy of Library Special Collections, WKU
In 1922 David Carroll & Eleanor Churchill founded Churchill Weavers in Berea, KY.
Capitalizing on improvements David had made to the fly shuttle and Eleanor's design
aesthetic and marketing skills, the Churchills' concern grew from a small business to an
internationally recognized source of woven household linens, blankets, garments, and
clothing accessories. Churchill Weavers operated stores in New York, Chicago, and Detroit,
placed its products in upscale stores across the country, and advertised in Vogue. Eleanor
Churchill sold the company to Richard and Lila Bellando in 1973, who later sold it to Crown
Craft, Inc. In 2007, changing tastes and economic conditions forced Churchill Weavers to
close; eight years later, the Kentucky Historical Society purchased the archives.
Cover of minute book from Kentucky Weavers' Guild
Courtesy of Library Special Collections, WKU
Zella Brown of Bowling Green working at her loom, 1961.
Courtesy of Library Special Collections, WKU
Beatrice Richards demonstrating weaving at Fountain Square, downtown Bowling Green.
Courtesy of Library Special Collections, WKU
Bea Richards (1900-1989) of Bowling Green became interested in weaving after she began
working at Berea College in the late 1920s. A founding member of the Kentucky Weavers of
Bowling Green, she wove a variety of textiles and was active in the arts and crafts program
at First Baptist Church in Bowling Green.
Courtesy of Library Special Collections, WKU
"Oh yes, I can't weave without colors. I guess I'm probably the only one in our little weaving
club that would ever dabble with color, but since I also do, or used to do a lot of painting, I
just have to have color. I like color all around me and I'm not afraid to use it, although I
doubt I know the rules, but whatever. I just do it."
Courtesy of Library Special Collections, WKU
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Jacqui Lubbers: A Legacy in Weaving
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Stickwork
Stickwork Project
"Highbrow"
By Artist Patrick Dougherty
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