The Museful Mind

Kildalton: Recipe for a High Cross Quilt

Biblical and Pictish designs on a quilt of the High Cross at Kildalton Abbey

This quilt was an absolute joy to make.  Basic sewing and applique, nothing fancy.  There was no need to stretch technically or step outside my comfort zone.  So, it was a ‘restful’ piece which provided a semblance of refreshment, something we all need at times.  An opportunity to take a little breather, artistically-speaking

As for the ‘recipe’… a few simple ingredients.  You take a gorgeous landscape scene – Kildalton Abbey on the isle of Mull, off the west coast of Scotland.  Add in a High Cross from within the Kirkyard.  And then mix it all together with a medieval manuscript known as Harley 3469 (Splendor Solis) written in 1582, and archived at the British Library.  A little elbow grease, some thread and scraps of fabric and…Voila!  You have a High Cross Quilt!

When making a landscape quilt of an actual place, it’s important to know the history… the background story.  How else can you hope to catch its essence?  Kildalton (Cill Daltain) Abbey dates to between 1100-1200 CE.  But there was a religious presence here long before then, as evidenced by this particular High Cross which dates to the late 700’s.  It is exceptionally well preserved, and is one of the few high crosses from that era to have survived intact.  In pristine condition, it is a remarkable – and insightful – example of how local Celtic lore and religion adapted onto later Christian belief.

The landscape scene itself was pretty straight forward, requiring little adaptation.  However, the High Cross is located elsewhere within the kirkyard.  So a little artistic license was taken, and the Cross ‘re-situated’ to a different section.  Providing a setting that was more striking and dramatic.  This would make for a better presentation, and allow the High Cross to fully stand out.

Standing Celtic cross against a darkening sky in the Isle of Mull surrounded by a stone wall
High Cross from the kirkyard at Kildalton Abbey

And while the landscaped background was fairly simple looking, the High Cross itself is very detailed and intricate.  The design and actual carvings on the stone will need to be inked in with pigma pens, rather than stitched with fabric.  These are special archival pens; the ink is permanent, works well with fabric, and won’t fade.

The quilt is sketched out, setting the High Cross against the chosen area of the kirkyard.  This is done in two pieces.  First the landscape, and then the High Cross in position over-lapping.  It will be stitched the same way.  The background will be completed first, and the High Cross added at the end of the process.

Sketch of the Kildalton High Cross and surrounding landscape
Piecing a quilted landscape surrounding Kildalton Abbey

Now to piece the fabrics… my favourite part, working with colours and shapes.  Literally projecting into the landscape takes me away.  I find myself in the  kirkyard – imagining the direction of the light source, choosing appropriate fabrics, shades and patterns, etc.  A restful exercise… stepping out of the world of current events in all its craziness.  For the time being, the only thing that exists is this landscape in all its peaceful serenity.

The time of year depicted is early Autumn, which allows for a slight touch of colour amidst all the greens.  The sky is a simple pale blue, no clouds or marbled shades.  A fitting background that won’t draw attention away from the High Cross once in place.

Slowly the shapes and the colours come together.  In the picture above, you can still see the sketch lines of the rolling hills behind the stone wall.  In the picture to the right, they are all filled in and defined with fabric.

Piecing a quilted landscape of the hills and stone wall surrounding Kildalton Abbey
Quilted landscape of the hills surrounding Kildalton Abbey on Mull

Now, it’s ready to be bordered.  This is where I depended heavily on the Harley 3469 manuscript for inspiration.  Can you see how it is setting up?  The central landscape scene is very symmetrical and well-balanced.  What was intriguing about the Splendor Solis border was its asymmetry.  That’s what was needed, something unsymmetrical, the better to play off the symmetry of the landscape. It makes for an interesting contrast; an unexpected surprise, which catches the eye off-guard.  I like presenting contrasts.  It’s anything but boring and, in this case, adds another dimension to the quilt.

Medieval manuscript Harley 3469 at the British Museum

Once the border is set in, it’s time to address the High Cross itself.  The very center of the centerpiece! The ink in the pigma pens is permanent, and the details of the cross are very intricate.  It seems a good idea to draw the various stone carvings onto the fabric first, before attaching it to the quilt.  There is no room for error, as you cannot erase the ink.

Center design of the High Cross in the kirkyard of Kildalton Abbey

Concentration, a steady hand… and a deep breath to relax; I begin in the middle, and work the design out from there.  The central carving is known as a Trinity Knot, signifying Father, Son, and Holy Spirit. It’s a classic Celtic presentation.  And just for fun, I colour it in with green ink the better to stand out.  In actuality, when originally carved, the sculptor did add colour and painted the various carvings. Time has, of course, eroded this away

There are four Biblical scenes depicted.  Beginning at the top with two angels watching over Daniel fighting the lion.  To the right, Abraham and Isaac placing a piece of firewood onto the altar.

Quilted design of angels on the Kildalton High Cross at the Abbey on Mull

The bottom carving features two angels, with Mary holding the baby Jesus in her arms.

And the fourth carving is Cain killing a kneeling Abel, with a club.  Some of the Biblical scenes depicted are an interesting, if unusual choice.  But the artist had his reasons.

Biblical scene on the upper arm of the Kildalton High Cross at the Abbey on Mull

Keeping in mind, this was carved into the actual stone.  The renderings are primitive in nature, which suits me just fine as my drawing ‘skills’ are also fairly primitive.  I am in awe of the sculptor and how he could create such detailed renditions.  Amazed that this work has lasted centuries.  It is beyond imagining… the skill, and the time; the love and dedication which went into the carving and creating of this High Cross.  Little did the sculptor know the Cross would stand the test of time, and his work would become one of the finest examples of Celtic art in history.

The lower part of the cross contains an intricate and complicated series of knots.  This is far beyond anything which can be duplicated.  So instead, the space is filled with a series of Pictish designs, which are in keeping with the Celtic tradition of the time.

Pictish designs on the foot of the Kildalton High Cross Quilt
Quilt of the Kildalton High Cross at the Abbey on Mull

Once the details of the carvings are inked onto the fabric cross, it is sewn into place on the quilt.  A layer of batting is sandwiched underneath, to give the cross a little 3-D impression.  Thus allowing it to stand out and above the background.

The High Cross and surrounding landscape are then top-stitched using a machine satin stitch.  This in turn, gives a more complete definition to the scene.  An added layer of color and depth, which further conveys the impression of field, wall, and rolling hill.

There are raised circle dots carved onto the stone, which I duplicate with silver gems hot-glued onto the fabric.  It is a marvel how these circles were carved in the first place.  When you delve deeper into the Kildalton High Cross, it is simply beyond comprehension what the original sculptor was able to accomplish.

The main centerpiece of the quilt is now complete.  And I’m pleased at how well the fabric rendition presents.  The picture in mind of how I wanted this to look, is now an actual reality.  This always gives a feeling of satisfaction… and a rush!  I conveyed what I set out do… and this is all any artist asks.

A little ‘broidery pearse’ is now employed, which breaks up the landscape with a few clusters of daisies.  Again, this offers a nice contrast and adds a certain 3-D effect.

Quilted flowers at the foot of the Kildalton Cross on the Isle of Mull
Celtic cross quilt backing

An interesting feature is how the top-stitching on the front ‘echoes’ onto the back of the quilt… a mirrored image.

However, it’s not quite finished.  There is still the border to contend with.  Part One is completed and this feels satisfying.  So now… it’s on to Part Two.  No sitting on the laurels quite yet.  There is still a way to go.

The border is a delicate and integral piece of work which will add so much to the quilt.  It will frame the center landscape in a rather unique manner.  And, there is an excitement to reaching this stage of the design.

One of the aspects which drew me to the Harley 3469 manuscript was the border.  In addition to the asymmetry, the attraction was how it was filled with different flowers, leaves, butterflies and such.  A friend gave me a map of Scotland printed on a tea towel with drawings of native flowers.  And… that offered up another idea – icing on the cake, as it were.  Wildflowers indigenous to Scotland were researched, and their various colors and shapes considered.  Those which seemed best suited for rendering onto fabric were then sketched out. 
Two things were a given; one, it had to include the National Flower which is a Thistle, and the other was some depiction of the Scottish Salter, to help denote location which was also important.  Simply adding the flag itself seemed too obvious, and didn’t fit well with the overall design.  So an outline of the  Salter, as an alternative, seemed a better idea.  Paired with the Lion Rampant, it is a unique rendition, also symbolic of the country.

Quilted Scottish thistle
Lions Rampant holding the Scottish Salter

And here is where I ‘cheated’ a wee bit, purchasing two lion decals.  There is a limit to what I can pull off with fabric, and this was it

So, the lions were glued into place with an iron.  They are holding the Salter (which I did manage to render in fabric) and flanked by thistle leaves on either side, to match the top of the quilt.  This tied the two depictions of nationality together very well.

Moving forward, and once again, am totally immersed in colour and shapes.  Slowly, one flower at a time, everything is pieced and top-stitched onto the border.  This was a delightful part of the quilt, coming to know each flower up close and personal, as they say.  And I loved ‘visiting’ with them.

Some of my favourites…. Scottish bluebells.  Just like the beloved song – The Bluebells of Scotland!

Quilted Scottish bluebell wildflower
Quilted Marsh Cinquefoil - Scottish wildflower

A touch of Marsh Cinquefoil… the purple of royalty.

Quilted blaeberry plant - Scottish wildflower

Bog Asphodel…  a golden ray of sunshine.

And the Blaeberry… a touch of rust for Autumn.

Quilted bog asphodel - Scottish wildflower

The flowers depicted (starting at the top center -clockwise) are Scottish Thistle, Rock Rose, Poppy, Dwarf Cornel, Sea Anemone, Indian Balsam, Marsh Cinquefoil, Scot’s Bluebell, Bog Asphodel, Blaeberry, Autumn Gentian, Scot’s Primrose, and Wintergreen.

These wildflowers were like the icing on the ‘cake’ of my quilt.
Adding a beautiful finishing touch to the ‘recipe’ for a High Cross Quilt.
And here it is in all its colourful glory!!!!

Quilt of the High Cross at Kildalton Abbey with Scottish wildflower border

Two quilts of this design were created… one of which is available for sale in The Quilt Shop.

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