Elm Creek Quilts [04] The Runaway Quilt (3 page)

But now, torn between her memories and the questions Margaret Alden’s quilt raised, Sylvia would need more than folklore and family histories to discern the truth. She needed evidence only Elm Creek Manor could provide.

Andrew and Sylvia preferred to drive at a leisurely pace, so it wasn’t until several days after the encounter with Margaret Alden that they pulled off the freeway and headed down the two-lane road past picturesque farms and rolling, forested hills toward home. Sylvia sighed with happiness when they turned
onto a gravel road that wound its way through a familiar leafy wood. Before long, Elm Creek came into view, marking the southern border of the estate.

When the road forked, Andrew stayed to the left, following the road that led to the parking lot at the rear entrance of the manor. The right fork would have taken them over a narrow bridge and across a vast lawn up to the front entrance—a more grand approach, especially for visitors, but impractical for Andrew’s ocean liner on wheels. Before long the creek wound north and disappeared from sight, but the road continued west for a little way before turning north.

The wood gave way to a clearing. To the left was the orchard, where several women strolled among the apple trees. They waved as the motor home passed, and Sylvia waved merrily back. Ahead and to the right stood the two-story red barn built into the side of a hill. Sylvia’s gaze locked on it.

“It’s an accurate picture,” said Andrew, meaning the pattern of stitches in Margaret’s quilt. His words echoed Sylvia’s own thoughts, but she merely nodded, unwilling to commit herself.

Just beyond the barn, the path crossed a low bridge over Elm Creek and widened into a driveway lined by tall elms. Then, at last, the manor itself came into view, its gray stone walls solid and welcoming. It was three stories tall—not counting the attic—and L-shaped, with black shutters and black woodwork along the eaves. Four stone stairs led to the back door, and as the motor home pulled into the parking lot, Sylvia watched as women bustled in and out.

“My goodness,” said Sylvia. “It certainly is busy around here this morning. Isn’t anyone in class?”

“You forget how many more campers you have these days,” said Andrew.

“Only fifty each week.”

“Yes, but your first year, you had only twelve. No wonder it looks like you have a crowd milling around.”

No wonder, indeed. What would her sister think if she could see how their family estate had been transformed? More than fifty years before, grief and anger had driven Sylvia away from her family home and into estrangement from her elder sister. Only after Claudia’s death had Sylvia returned, intending to prepare the manor for sale rather than live there haunted by reminders of departed loved ones. She never imagined that hiring Sarah McClure as her assistant would force her to face all those old resentments and painful truths about her own mistakes. Elm Creek Quilts had been Sarah’s vision and Sylvia’s lifeline, for turning the estate into a retreat for quilters had made the halls ring with laughter and happiness as they had not for decades. Now Sylvia knew that, except for her occasional jaunts with Andrew, she would live out her days on the estate her ancestors had founded. She knew this was exactly as it should be, and her heart was full of gratitude for the friends who had made this second chance possible.

Eager for the company of these friends, Sylvia kissed Andrew on the cheek and hurried inside while he remained behind to look over the motor home. Sarah met her at the back door and greeted her with a hug. Sarah launched into a description of the week’s events, but Sylvia’s news would not wait. “Sarah, dear,” she interrupted, “I have a special favor to ask of you. Would you join me in the attic, please?”

They began the search that afternoon.

Throughout the drive from South Carolina to Pennsylvania, Sylvia’s thoughts had returned again and again to her great-aunt Lucinda’s stories and the trunk she had described more than seventy
years before. Somewhere among the dust and clutter of four generations there was a cherry hope chest with engraved brass fastenings, and in it—if Lucinda’s stories were true—was a quilt Great-Grandmother Anneke had made.

Sylvia had always meant to find that quilt, but her long exile had made the search impossible, and upon her return, the improbability of finding it had been so daunting that she had put off the task. Even Grace Daniels’s persistent requests to study the quilt had not been motivation enough. Now everything had changed. She did not know if Anneke’s quilt could prove or disprove a connection between Margaret’s quilt and Elm Creek Manor, but if it existed—and Sylvia refused to believe it did not—it might at least provide evidence that the manor had been a station on the Underground Railroad. Sylvia would be willing to acknowledge whatever other, more distant relations had done if she could first be certain her own direct ancestors had played a more noble role.

But after climbing the narrow, creaking staircase and surveying the attic, Sylvia knew that finding the trunk would be difficult, if not impossible, even with Sarah’s help. The shorter, older west wing lay to her right, and the longer, newer south wing stretched out before her. Up here the seam joining old and new was more evident than below, the colors of the walls subtly different, the floor not quite even. Little visible evidence betrayed that fact, as the belongings of four generations of her family covered nearly every square foot of floor space.

“Four generations, and not one individual could be spared to tidy the attic,” said Sylvia, her voice lost in the vast space. “Until me.” Still, she was pleased her ancestors had left so much of themselves behind. She only hoped Great-Grandmother Anneke had not been the one exception to the family rule.

“We’ll find it,” said Sarah. She chose the nearest pile of
stacked items and began. “But we’ll save time if we leave tidying up for later.”

Sylvia agreed and set herself to work. They could spare only a couple of hours before camp duties summoned them downstairs, but after the evening program, they resumed the search. Matt, Sarah’s husband and the estate’s caretaker, joined them, moving heavy loads Sylvia and Sarah had been unable to budge, but promising leads turned repeatedly into dead ends. By the time Sylvia went to bed that night, she had been begun to suspect that the search could take much longer than she had anticipated.

All week Sylvia and Sarah stole moments from their busy days to ransack cartons and uncover old furniture, all in vain. They found trunks, to be sure—dozens of them, full of historic mementos, or so a cursory examination hinted, but Anneke’s hope chest eluded them. Sylvia had never been a particularly patient woman, but each day’s frustrations only made her more determined to keep looking.

It didn’t do her temper any good that Sarah squandered valuable time digging through trunks that didn’t meet the description, marveling over an antique toy or portrait, uncovering the hidden treasures Sylvia, too, was tempted to study. Nor did the tenacious July heat, or the dust they stirred up as they worked, or Sarah’s shrieks at the discovery of yet another spider.

On one particularly humid Friday afternoon, Sarah dared to voice the same question that had been nagging Sylvia. “Are you sure the trunk is even up here?”

Sylvia refused to hear her discouragement. “If you want to quit, go ahead.”

“It’s not that—”

“No, go on. I’m sure you have more important things to do than help me.”

Without a word, Sarah left, rebuking Sylvia with her silence.
Sylvia continued on alone, ashamed but too proud to go downstairs and apologize for her short temper.

Sensing progress in the increasing age of the artifacts she uncovered, for another hour she resisted thirst and fatigue until she was forced to admit that even her strong will was no match for the stifling conditions. She decided to return after the campers’ evening program, when nightfall would bring restful quiet and cool breezes to Elm Creek Manor.

She left the attic assuring herself she would find the trunk that night or some day soon thereafter, but darkness seemed to foster doubt. Perhaps her memory had failed her, or Great-Aunt Lucinda’s had failed
her.
Or maybe Lucinda’s tale had been nothing more than a fiction meant to amuse a young girl. Of all the possibilities, that was the one Sylvia dreaded most. She couldn’t bear it if the stories of Elm Creek Manor that had sustained her throughout her long absence turned out to be false. At one time, they were all she had had to remind her of home and the family she had left behind.

She picked up the search where she had left off earlier that day and soon forgot her exhaustion and the late hour. Only a small portion of the attic remained to be searched, a far corner of the west wing where the ceiling sloped so low Sylvia could not stand upright. Her grandparents might have used the chair that now sat covered in dust before her; some unknown aunt or cousin might have sewn a wedding gown on the treadle sewing machine now rusted and missing its belt. Melancholy colored her thoughts, and she forced herself to admit that even if Lucinda’s story was true, the chest with its contents might have been lost to the fire that had destroyed part of the manor in her father’s youth, or sold off like so many other heirlooms when the family’s fortunes waned. So many misfortunes could have befallen it—

But perhaps none had after all, she thought, as she glimpsed beneath a film of dust a trunk made from cherry and brass.

She braced herself for the resistance of weight, but the trunk was surprisingly light. Quickly she pulled it into the open and brushed off as much dust as she could, for if a quilt was inside, she would not wish to soil it. Then she seated herself on the floor and studied it, reaching into her pocket for the slender key Great-Aunt Lucinda had given her decades before. Sylvia had saved the key more in remembrance of her great-aunt than from any certain plan to find the lock it fit, but now she knew there was only one way to discover if Great-Aunt Lucinda’s stories were true.

After a moment’s hesitation, Sylvia fit the key into the lock.

It turned easily, but the lid was more reluctant to cooperate, and only after several minutes of wrangling did it open with a groan. Sylvia scarcely noticed the odors of stale air and aged cloth, for within the trunk she spied a folded bundle wrapped in a sheet of unbleached muslin. Carefully she picked it up, and knew at once from its texture and thickness that it was a quilt.

Her breath caught in her throat. The protective sheet bore signs of age and decay. She never should have neglected the trunk so long. If she had come sooner she could have stored the quilt properly. She could blame only herself for a good half-century of its deterioration.

Praying that the quilt itself was in better condition than the muslin cover, she gently unwrapped it and unfolded it upon her lap.

And there it was, the Log Cabin quilt she half-feared existed only in Lucinda’s imagination.

The blocks looked to be about seven inches square, arranged in fourteen rows of ten blocks each. Sylvia’s first glance took in shirting flannels and chintzes, calicoes and velvets—the scraps of worn clothing, no doubt. The scraps had been cut in rectangles of various sizes and pieced in an interlocking fashion around a central square, light fabrics placed on one side of a diagonal,
dark fabrics on the other. The blocks were arranged in a Barn Raising setting so that the overall pattern was one of concentric diamonds, alternately light and dark, just as Lucinda’s description had foretold. And to Sylvia’s amazement and gratitude, the central squares of each Log Cabin block were black.

Sylvia stroked the quilt reverently, hardly daring to believe what she held in her arms. According to tradition, the central square in a Log Cabin quilt should be red, to symbolize the hearth, or yellow, to represent a light in the window. According to folklore, however, in the antebellum United States, a Log Cabin quilt with a black center square was a signal to slaves escaping north along the Underground Railroad, a sign indicating sanctuary. As a child Sylvia had listened eagerly to Lucinda’s story of how Great-Grandmother Anneke Bergstrom’s Log Cabin quilt with the black center squares had welcomed fugitive slaves into the safe haven of Elm Creek Manor. This quilt provided the evidence she needed to document this important part of her family history.

“Not quite,” said Sylvia aloud, pursing her lips and scrutinizing the quilt. For all she knew, this quilt had been completed decades after the Civil War. Lucinda had always had an odd sense of humor. She could have pieced the quilt herself and left it in the attic for the young Sylvia to find, never imagining Sylvia wouldn’t discover it until Lucinda was beyond explaining the joke. The fabrics resembled those Sylvia had seen in other quilts of that period, but until a knowledgeable appraiser inspected the quilt, she had no more proof than before she opened the trunk.

She folded the quilt with care and, setting it aside, was about to return the muslin sheet to the trunk when she saw that the Log Cabin quilt had concealed two other muslin-cloaked bundles, one considerably smaller than the Log Cabin quilt, the other approximately the same size.

Sylvia immediately took up the smaller bundle, hardly daring
to hope that she would find more quilts sewn by her great-grandmother Anneke’s hands. In a moment the muslin sheet was on the floor beside her, revealing the age-weathered back of a second quilt. “Such an embarrassment of riches,” said Sylvia as she turned it over. Then, as the pattern appeared, she sat back against a stack of cartons, stunned.

“Birds in the Air,” she murmured. It was impossible, but she couldn’t deny the evidence she held in her own hands. The quilt that lay before her used the exact same block pattern as Margaret Alden’s quilt. Only the arrangement of the individual blocks on the quilt top differed; whereas the blocks in Margaret’s quilt were placed on the diagonal, this quilt used a straight setting, with the squares arranged in neat horizontal rows. This quilt was much smaller than Margaret’s, too, and although it certainly looked antique, with the wear and tear of hard use and lye soap all too evident, it was in far better condition. Still, Sylvia could not dismiss the use of the Birds in the Air pattern as mere coincidence.