A Baptismal Apron Embroidered by Mary Woodbury, c. 1735

I thought you might enjoy the story connected with this baptismal apron, c. 1735. Currently on view in Fashioning the New England Family at the Massachusetts Historical Society (10/2018-4/2019; www.masshist.org), it was embroidered by Mary Woodbury (1717-1748) of Beverly, Massachusetts.[1] 

All images are courtesy of the Massachusetts Historical Society; photographer, Laura Wulf.

Using familiar 18^thcentury iconography inspired by Asian motifs -- vases/urns of exotic flowers, flying phoenix/hoho birds--it is replete with silk and metallic threads, as well as small spangles. The primary stitches are flat and satin stitches. The colors are still bright against an extremely fragile silk ground. Born on March 3, 1717, the maker may have attended a female academy in Boston. 

She married Dr. Benjamin Jones on March 3, 1736/7.  She died the day before her 31^stor 32^nd  birthday. The baptismal apron was most likely made for her own child, embroidered when Mary was around age 18-19. After her death on March 2, 1748, her belongings were carefully saved for her daughter, Lydia, by Dr. Jones' second and third wives.  Lydia later married the Rev. Thomas Lancaster, who was minister of Scarborough, ME. from 1775 to 1831.

A baptismal apron such as this one, was worn by the infant. The term "apron" appears to be used in the 17th century and into the early 18th. Changes in baptismal practices - the move away from full immersion -- allowed for the better known Christening dress or gown to supplant the earlier ensemble, which often included the apron, a bib, mitts, and cap. The use of bearing cloths in the 17th and 18th century was also common. The example embroidered by Mary Woodbury has proportions closer to the apron than the square bearing cloth. Further, her family had settled in Massachusetts in the 17th century, likely continuing the practices from home. A full ensemble from the Victoria & Albert Museum may be seen here: ‪react-text: 204 Victoria and Albert Museum /react-text :‪react-text: 207 http://collections.vam.ac.uk/.../baby-clothes-unknown/

1. Accession # 0168

Given by the grandchildren of Dorothy Lancaster Libby, through Charles Thornton Libby of Portland, ME, on August 5, 1931.

References   MHS Proceedings64; 346

2. A second, and very unusual, example of her work, also survives at the Massachusetts Historical Society – a painting of Pocahontas. This may well be the first representation of Pocahontas by a woman. For more, see https://www.masshist.org/database/1747

A Striking Persimmon Sack Back, c1760s

Now closed, I was fortunate to tour the Casanova exhibition at the Museum of Fine Arts, Boston this summer. It was a lavish and bold exhibition; a feast for the senses—as one might imagine for one with the appetites (many quite unsavory) of Casanova and the 18^thcentury world he traversed.

One of the entrancing tableaux was of an elite woman’s morning ritual – her toilette. Seated at her dressing table, there are shenanigans occurring behind her, presumably between her husband and ladies maid, passing a letter between them.

Each mannequin in this tripartite ensemble is of interest. For this post, I focus on the striking persimmon orange robe a la francaise (or sack back) open robe with compere (a variation of a stomacher often with buttons like a waistcoat) front, double-flounced pagoda sleeve ruffles and pocket slits at each hip.  It is two parts (robe, petticoat), c1760s

For information on the sack back, see: www.mfa.org https://www.mfa.org/collections/object/womans-dress-in-two-parts-robe-petticoat-556860

A Fashionable Neoclassical Dress, 1800-1805

This formal dress, c. 1800-1805, of white cotton gauze, features small floral sprays across the textile. It is detailed with a border design “composed of vine and a modified Greek fret worked in a chain stitch with fine red and white wool.”  This is a classic example of what is known as the Regency, Empire or Neoclassical style which began in the last decade of the 18^thcentury (post-American and French Revolutions) and continued to inspire women’s fashions into the 1820s, and in some places, beyond.

A dress like this would not have been out of place in the first quarter of 19^thcentury in Boston. By the time of Henry Sargent’s painting of The Tea Party(c.1824) showing the elegant attire of the age – although clad in long columnar dress, with shawls and hats of every variety, we begin to see additions of pouf sleeves, decorated hems, fancy trimmings altering the silhouette and profile. The setting for this elegant gathering was none other than Boston’s Beacon Hill, and is a companion piece to his masculine habitués detailed in The Dinner Party.[1]

 (Via the Museum of Fine Arts, Boston https://www.mfa.org/collections/object/formal-dress-67396⁾

Accession #22.665

1. For additional information on Sargent’s painting, see Jane C. Nylander, “Henry Sargent’s Dinner Party and Tea Party,” Magazine Antiques, May 1982.