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November 10, 2024 by Peter T Young Leave a Comment

Queen’s Quilt

Kalākaua was succeeded by his sister, Liliʻuokalani, who was proclaimed Queen on January 29, 1891. Her experience as Princess Regent during King Kalākaua’s nine-month journey around the world in 1881 and her visit to the United States in 1887 with Queen Kapiʻolani helped prepare her for her new role as Queen of Hawaiʻi.

Queen Liliʻuokalani was determined to strengthen the political power of the Hawaiian monarchy and, at the request of her people, to limit suffrage to subjects of the kingdom.

Her attempt to promulgate a new constitution galvanized opposition forces into the Committee of Safety, which was composed of Hawaiʻi-born citizens of American parents, naturalized citizens and foreign nationals; they later organized the establishment of a provisional government.

On January 17, 1893, Queen Lili`uokalani yielded her authority in a letter delivered to Sanford B Dole, “…Now to avoid any collision of armed forces, and perhaps the loss of life, I do this under protest …”

“… and impelled by said force yield my authority until such time as the Government of the United States shall, upon facts being presented to it, undo the action of its representatives and reinstate me in the authority which I claim as the Constitutional Sovereign of the Hawaiian Islands.”

“Weary with waiting, impatient under the wrongs they were suffering, preparations were undoubtedly made amongst some in sympathy with the monarchy to overthrow the oligarchy.”  (Queen Liliʻuokalani)

In 1895, an abortive attempt by Hawaiian royalists to restore Queen Liliʻuokalani to power resulted in the Queen’s arrest. She signed a document of abdication that relinquished all her future claims to the throne. Following this, she endured a public trial before a military tribunal in her former throne room.

Convicted of having knowledge of a royalist plot, “at two o’clock on the afternoon of the 27th of February I was again called into court, and sentence passed upon me. It was the extreme penalty for “misprision of treason,” – a fine of $5,000, and imprisonment at hard labor for five years.”  (Liliʻuokalani)

The sentence was commuted to imprisonment in an upstairs apartment in ʻIolani Palace.

“I was informed that I could bring Mrs. Clark with me if I wished, so she went for my hand-bag; and followed by her, I entered the carriage of the deputy marshal, and was driven through the crowd that by this time had accumulated at the gates of my residence at Washington Place. …”

“That first night of my imprisonment was the longest night I have ever passed in my life; it seemed as though the dawn of day would never come. I found in my bag a small Book of Common Prayer according to the ritual of the Episcopal Church. It was a great comfort to me, and before retiring to rest Mrs. Clark and I spent a few minutes in the devotions appropriate to the evening. …” (Lili‘uokalani)

“Outside of the rooms occupied by myself and my companion there were guards stationed by day and by night, whose duty it was to pace backward and forward through the hall, before my door, and up and down the front veranda. The sound of their never-ceasing footsteps as they tramped on their beat fell incessantly on my ears.”

“One officer was in charge, and two soldiers were always detailed to watch our rooms. I could not but be reminded every instant that I was a prisoner, and did not fail to realize my position.”

“My companion could not have slept at all that night: her sighs were audible to me without cessation; so I told her the morning following that, as her husband was in prison, it was her duty to return to her children. …”

“[I]n conference it was agreed between us that Mrs. Clark could return home, and that Mrs. Wilson should remain as my attendant; that Mr. Wilson would be the person to inform the government of any request to be made by me, and that any business transactions might be made through him.”  (Lili‘uokalani)

Queen Liliʻuokalani’s “prison” room is on the makai-Diamond Head second-floor corner of ʻIolani Palace.  If you visit the Palace today, the area where the Queen was held is clearly noted by its white covered-over window.

Contrary to urban legend, the Palace windows were not frosted and painted over to block the Queen’s ability to see out and others to see her inside.

In 1887, the Palace’s second story windows were opaque glass.  When the Palace was attacked in 1889 during the initial Wilcox Rebellion, many of the Place windows were broken.  When repairs were made (through 1890,) these windows were replaced with frosted glass.

There are apparently no photographs of the Queen’s room during her imprisonment.  She describes the apartment as, “a large, airy, uncarpeted room with a single bed in one corner. The other furniture consisted of one sofa, a small square table …”

“… one single common chair, an iron safe, a bureau, a chiffonier (storage for odds and ends,) and a cupboard, intended for eatables … There was, adjoining the principal apartment, a bath-room, and also a corner room and a little boudoir …”  (Queen Liliʻuokalani)

During her imprisonment, the Queen was denied any visitors other than one lady in waiting (Mrs. Eveline Wilson.) She began each day with her daily devotions followed by reading, quilting, crochet-work or music composition.

“Though I was still not allowed to have newspapers or general literature to read, writing-paper and lead-pencils were not denied; and I was thereby able to write music, after drawing for myself the lines of the staff.”  (Liliʻuokalani)

The Palace has a quilt the Queen made; the center square of Liliʻuokalani’s quilt includes the embroidered words “Imprisoned at Iolani Palace … We began the quilt there …”

“Surrounding the Kalakaua coat of arms and framed by pairs of crossed Hawaiian flags, the center block outlines the sequence of events that changed the course of Hawaiian history …”

“… including the stitched date the Provisional Government was put in place, when Lili’uokalani was forced to step down, and the date of the aborted Wilcox revolution that precipitated the queen’s arrest.” (Star-Bulletin)

Embroidered dates indicate the quilt was completed after Liliʻuokalani’s release on September 6, 1895. “Held captive and sequestered in a small room at the Iolani Palace for a period of eight months, Hawaii’s last monarch and a small group of devoted attendants set about documenting the imprisonment.”

“The preservation of their cultural heritage and the unconditional show of support for one another during times of adversity are qualities attributed to Hawaiian women throughout history. … the Queen’s Quilt symbolized the resolution of a few women who were bound and determined to preserve a record of their Queen’s cultural heritage on behalf of all the Islands native inhabitants.” (Dwyer)

She spent 8 months in this room.  After her release from ʻIolani Palace, the Queen remained under house arrest for five months at her private home, Washington Place. For another eight months she was forbidden to leave Oʻahu before all restrictions were lifted.  Liliʻuokalani died of a stroke on November 11, 1917 in Honolulu at the age of 79.

The Queen’s Quilt is displayed in the very room where Queen Liliʻuokalani was imprisoned in 1895. It was here she and her companions would begin to create one of the most unusual forms of historic documentation in Hawaiian history. (Native Books)

© 2024 Ho‘okuleana LLC

Filed Under: Ali'i / Chiefs / Governance Tagged With: Liliuokalani, Overthrow, Eveline Wilson, Quilt, Monsarrat assisted in conferring the Mark Master’s degree on King Kalakaua at Iolani Palace. Monsarrat married Carrie Capitola Tuttle in Honolulu, Queen's Quilt

July 22, 2019 by Peter T Young Leave a Comment

Ruggles’ Quilt

“The making of tapa was a time-consuming and labor intensive process. The outer bark was stripped away and the inner bark was soaked in water to make it soft.”

“Artistically carved round wooden mallets were used to pound the strips of the inner bark into meshed fiber to form sheets of various sizes, thicknesses, and textures. Then, the tapa was colored by native dyes and decorated with block prints.”

“New England missionaries arrived in 1820 and taught high-ranking Hawaiian women to make American-style patchwork quilts. On April 3, 1820, seven young New England missionary women held the first ‘Sewing Circle’ aboard the brig Thaddeus.” (Cao and Park)

“The high-ranking Hawaiian women were Kalakua, mother of King Liholiho, her sister Namahana, and two wives of Chief Kalanimoku. The missionary wives were Lucy Thurston, Lucia Holman, Sybil Bingham, Nancy Ruggles, Mercy Whitney, Jerusha Chamberlin, and Elisha Loomis.”

“The missionaries supplied the scissors and furnished the native women with calico patchwork to sew. Sewing calico piecework was new to the ranked Hawaiian women, but the geometric and symmetrical patterns associated with quilting were not.”

“The Hawaiian women were taught both types of quilt making. The pieced variety technique was used to make geometric repeated blocks, and the appliqué style used the ‘snowflakes’ method.” (Cao and Park)

Lucy Thurston, the wife of one of the first missionaries, recorded in her journal (1882): “Monday morning, April 3rd [1820], the first sewing circle was formed that the sun ever looked down upon in his Hawaiian realm.”

“Kalakua, queen-dowager was directress. She requested all the seven white ladies to take seats with them on mats, on the deck of the Thaddeus. Mrs. Holman and Mrs. Ruggles were executive officers to ply the scissors and prepare the work. … The four native women of distinction were furnished with calico patchwork to sew-a new employment to them.” (Thurston)

“For the first few years the missionary wives spent a great deal of time sewing for the upper class Hawaiians.”

“These ladies preferred to spend their time instructing the Hawaiians in spiritual matters and when regular supplies of fabric and patterns arrived from the mainland, the missionary wives began teaching Hawaiians to sew”.

“According to Wild, the missionaries’ instructional program included other domestic arts in addition to sewing lessons, and both sexes were welcomed into the domestic arts classes.”

“Leftover scraps of fabrics from the lessons were used to teach patchwork quilting. As they began learning to quilt, Hawaiian women incorporated traditional and familiar kapa designs into their quilts.”

“As part of the assimilation and acculturation processes, western fabric, fashions and quiltmaking were integrated into Hawaiian material culture. As this happened, the making of kapa began to decline, and by the end of the nineteenth century, kapa production waned.”

“To the Hawaiian seamstresses, it probably seemed illogical to cut new materials into small pieces only to be sewn together to make a patchwork quilt.”

“It was quite natural, therefore, that the Hawaiian women would move toward individual designs as they were accustomed to producing original designs with their own kapa beater and wood-blocks from which they made kapa designs of their own.”

“It is not known exactly when, or even how the appliquéd Hawaiian quilt evolved. What is most striking about the Hawaiian quilt is the appliqué technique in which a large sheet of fabric is folded, cut into a design, then stitched onto a contrasting background, followed by contour quilting around the motif.”

“Both in technique and style, Hawaiian appliqué reminds us of paper snowflakes made by schoolchildren, a contemporary remnant of cut paper work that was popular in the northeastern United States during the early decades of the nineteenth century.” (Arthur)

In addition, 9-year-old Huldah, daughter of missionary Samuel Ruggles made her own patchwork quilt, it is featured in the image. It was recently on display at Hawaiian Mission Houses. It is made from scraps; images of other clothing are also included in the album (from which Huldah Ruggles used scraps to finish her quilt).

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© 2019 Hoʻokuleana LLC

Huldah Ruggles Quilt-HMH
Huldah Ruggles Quilt-HMH
Huldah Ruggles Quilt-HMH
Huldah Ruggles Quilt-HMH
Huldah Ruggles Quilt-HMH
Huldah Ruggles Quilt-HMH
Huldah Ruggles Quilt-HMH and Garment-Huldah Ruggles used scarps of material for quilt
Huldah Ruggles Quilt-HMH and Garment-Huldah Ruggles used scarps of material for quilt
Huldah Ruggles Quilt-HMH
Huldah Ruggles Quilt-HMH
Garment-Huldah Ruggles used scarps of material for quilt
Garment-Huldah Ruggles used scarps of material for quilt
Garment-Huldah Ruggles used scarps of material for quilt
Garment-Huldah Ruggles used scarps of material for quilt
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Filed Under: General, Ali'i / Chiefs / Governance, Missionaries / Churches / Religious Buildings, Hawaiian Traditions, Economy Tagged With: Quilt, Hawaii, Samuel Ruggles, Nancy Ruggles, Huldah Ruggles

Images of Old Hawaiʻi

People, places, and events in Hawaiʻi’s past come alive through text and media in “Images of Old Hawaiʻi.” These posts are informal historic summaries presented for personal, non-commercial, and educational purposes.

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