Baltimore Album Quilts are perhaps the most easily distinguished quilt style. They are composed of a number of "blocks," usually 25, each of which contains a complete pictorial or decorative motif. They fall into the category of "best quilts" that were made for display and most likely never used, explaining why those that have survived are in such good condition. These quilts were made in a surprisingly tight time period, 1846 - 1852.

These impressive pictorial textile masterpieces appear to have been prepared in kit form of some manner. Whether it was one workshop, or the work of several, the quantity of very recognizable and duplicated designs would make it impossible to be the work of one person alone. What is unbelievably puzzling is the lack of firm documentation to support any of the possible theories of their origination. Only a single diary reference gives us a clue, but there are no conclusive answers.

The three styles

While we may not have the answer to their origin, we do, thankfully, have the gorgeous quilts themselves. Baltimore Album Quilts were made in three distinct styles.

Style 1 is the most recognizable. These elaborate block designs were formerly attributed to Mary Evans, and then to Mary Simon. Mary Simon could have been responsible for a portion of this body of quilts, but the total picture remains clouded. Style 1 examples use a wide assortment of high quality fabrics, with multiple layers creating design and dimension. Woven baskets, detailed buildings, wreaths, trains, fire engines and other designs were taken from newspapers, china, silver, and from the chintz and toile fabrics being imported into Baltimore at this time. The fabrics were cut and pieced to follow the contours of the motifs. Many of the fabrics themselves were printed using gradations of color. Specifically, the fondue blues and browns were used most effectively; creating water, sky, ships, monuments, and the magnificent eagles. Style 1 examples often include elaborate inking details; men and cannons on ships, details on flowers, sayings on the eagle blocks, in addition to names and dates.

Style 2 BAQs closely resemble their Pennsylvania cousins. The fabrics used are primarily reds and greens, both solids and small prints. These blocks often include stuffed work and ruching, which give a three dimensional appearance. The designs take inspiration from Pennsylvania German papercuttings (scherenschnitte), and while they often look simple, this style is frequently more technically difficult to sew.

Style 3 BAQs are typically elaborate examples with a "folkier" appeal, often including exotic animals like crocodiles, elephants and insects. The choice of fabrics is expanded to include coating-weight woolens and velvets which were nontraditional, in addition to the predominant cotton of Styles 1 and 2. Motifs are highly stuffed, often with elaborately embroidered detailing.

A recent study suggests that there may be a connection between Style 3 BAQs and the Baltimore Jewish community. I am curious but not convinced, and we must await the results of further research to be able to accept the connection with confidence. There is, however, strong documentation connecting Style 1 BAQs to the Baltimore Methodist community, as several quilts were given to local ministers by their parishioners. Some quilts were also made as marriage gifts, and others to celebrate the coming of age of young men, called "Freedom Quilts."

Making the quilts

It is important to note that the maker(s) of these quilts did not necessarily confine themselves to one style alone. There are quilts entirely representative of one style, and many more that "mix and match" styles within one quilt, as well as perhaps an original block or blocks that were homemade, and fit no particular style.

Within any one style, there are quilts made by one hand, and those made by several. In some cases, the appliqué work was done by many hands, and the quilting done by one, perhaps by an outside professional quilter. Some quilts are well documented, with signatures on each block, and others have no documentation. There is evidence that some women were responsible for blocks on more than one quilt.

The most common configuration is 25 blocks square. Some have elaborate borders and others have none. One-third of those known are quilt tops or counterpanes, with no quilting at all, although they are still referred to as Baltimore Album Quilts.