Crazy for Crazy Quilts Page 2 Made primarily to show off the maker's workmanship, these pieces of splendor seldom were made to actually be used. Because of the many details that could only be appreciated up close, they most often were displayed where others could view them, perhaps draped over a piece of furniture in the parlor. Many had wide borders decorated with fringe, tassels, or lace—details not desirable for a bed quilt (see Example 3). And because of their intricate nature and use of untraditional fabrics, most surviving crazies were tied and not quilted. Maker unknown, 1886 Owned by Phyllis Hoffman Example 3 CRAZY HISTORY     How did these unusual quilts come to be? It all began almost 125 years ago during the Victorian Era. The Victorian crazy quilt (see Example 3) is thought to have been influenced by two things: the Aesthetic Movement and the Japanese pavilion featured at the 1876 Philadelphia Centennial Exposition. While the Aesthetic Movement is considered by many authorities as the catalyst for interest in art needlework, it has been theorized that the minute cracks, or "crazing," in the glaze of Japanese pottery exhibited at the Exposition is where the asymmetrical shapes found in crazy quilts were derived. Other Japanese designs—fans, tree branches, fish, flowers and butterflies—became popular embroidery motifs.    These early quilts were made by people versed in quiltmaking, as well as by makers from embroidery and other design-related backgrounds. They all were anxious to express their feelings in a decorative piece, and were convinced the idea of random piecing on a foundation would have widespread appeal. These makers often embellished their quilts with their own painting, chenille work, embroidery and appliqué designs, as well as with designs and figures reproduced from magazines and books on fancywork. Campaign ribbons, lace and patches can also be found on these early works.