1820-1840 ca. Hand-Embroidered Wedding Corset, Connecticut, USA. Ivory cotton covered with hand embroidery, including love birds on hearts, front pocket for busk, eyelets for back lacing. Trapunto (to embroider) cording decorates and shapes corset. The back closure has ivory eyelets for the lacing. The center-front has a pocket panel for inserting a busk. Trapunto (to embroider) shapes the corset by outlining the design with two or more rows of running stitches and then padding from the underside which gives a raised effect.The technique was always considered very elegant. Trapunto first appeared in 14th century Sicily and was widely adopted for clothing in Tudor England, and then brought to America by the new settlers. In addition to the cording, the corset is totally covered with hand-embroidered flowers and there are two embroidered love birds on hearts at the center-front. Above the birds is a section of trapunto work. via Vintage Textiles
1790-1810 ca. Woman’s Black Wool Shoes. Pointed toe and low wedge heel covered in same fabric, black tape binding, leather straight or symmetrical sole, linen insole and lining. Wool satin with wool twill tape binding, plain weave linen lining, and leather sole. Place of Use: Lexington, Massachusetts, United States. Place of Manufacture: possibly Massachusetts, United States Provenance: Worn by a member of the Robbins family; inherited by Ellen A. Stone; gift to MFA, 1899. Credit Line Gift of Miss Ellen A. Stone via Museum of Fine Arts, Boston, U. S.A.
In Jane Austen’s years, she and her contemporaries spent a lot of time outdoors. Fragile slippers were worn for balls and evening events but for walking sturdier shoes were needed, In the early 1800s, these were typically made of leather and were flat or had a very small heel.
In 1931 Coca-Cola decided they wanted a more “wholesome” depiction of Santa, and contracted illustrator Haddon Sundblom to give him a makeover. Sundblom (1899-1976), who created expressive paintings of the magical Mr. Claus for the Coca-Cola Company over a period of 33 years. In 1931, Coca-Cola employed illustrator, Haddon Sundblom, to create a happier image of Santa Claus and he drew a new advertisement each year.
Annual Coca-Cola advertisement created by the remarkable illustrator Haddon Sundblom. Clement Moore’s 1823 poem “A Visit from St. Nicholas” may have describe the jolly old elf in detail, and Thomas Nast’s 1881 caricature of Saint Nick may have brought the image of Santa into focus, but not until the middle of the 20th century did one artist perfect the image of Santa and make it stick.
That artist was Michigan-native Haddon Sundblom (1899-1976), who created expressive paintings of the magical Mr. Claus for the Coca-Cola Company over a period of 33 years. Though he was not the first artist to create an image of Santa Claus for Coca-Cola advertising, Haddon Sundblom’s version became the standard for other Santa renditions and is the most-enduring.
I love finding out the tradition behind some of the things we do and say at Christmas, don’t you? So I am going to do a series of posts this week covering lots of the historical aspects of our celebrations. Why we say things, why we do things, and why we use things to decorate our houses. Enjoy the festive season with me with more posts to follow.
CHRISTMAS
The word has been around for centuries, with some dictionaries putting it in the late Old English period and others to the 12th century. Old forms include cristes masse and christmasse, meaning the festival (mass) of Christ. It replaced other pagan midwinter festivals when the church tried to persuade Romans to convert to Christianity.
XMAS
This abbreviation annoys a lot of people but it isn’ t simply modern shorthand. X was used to represent the Greek symbol chi, which is also the first letter in Christ. This has been used since Roman times.
DECORATE
The word means to adorn and is from the 16th century, but the seasonal meaning of to deck with ornamental accessories dates from the 18th century. The word originates from the Latin decoratus (beautify).
TINSEL
It was first seen in the expression tinsell saten which means strips of shining metal used for ornament. It also describes things that are showy and worthless. It is believed to have come from the Anglo Norman with ancestors in Old French.
Legend has it that during the 17th century, craftsmen created straight white sticks of candy in the shape of shepherds’ crooks at the suggestion of the choirmaster at the Cologne Cathedral in Germany. The treats were given to children to keep them quiet during ceremonies at the living creche, or Nativity scene, and the custom of passing out the crooks at such ceremonies soon spread throughout Europe.
‘The legends of the candy cane are many, including that the cane was shaped like a “J” for Jesus, the three red stripes symbolized the Holy Trinity, the hardness of the candy represented the Church’s foundation on solid rock and the peppermint flavor reflects the use of hyssop, an herb referred to in the Old Testament.’ via Encyclopedia Britannica
In celebrations of Saint Nicholas Day, candy canes are given to children as they are also said to represent the crosier of the Christian bishop, Saint Nicholas; crosiers themselves allude to the Good Shepherd, a title associated with Jesus. Some people explain the symbolism of a striped cane as white representing Christ’s purity, red the blood he shed, and the three red stripes the Holy Trinity.
In the mid 1600s, sugar roses were added but weren’t popular so plain white canes remained until red stripes were added around 1890. In 1847, a German immigrant living in Wooster, Ohio, U.S.A. looped candy canes that he brought with him from Europe over the boughs of his Christmas tree.
In 1919, Bob McCormack of Albany, Georgia, made candy canes for family, friends and local shopkeepers. The canes were bent by hand as they came off the assembly line into the ‘J’ shape of a shepherd’s crook, so breakage was often over 20 percent. In the 1920s, a cherubic child in a red-and-white hat sold peppermint candy cane to Albany natives in an advertisement for Bob’s candy company. McCormack was the first manufacturer to wrap his candy in cellophane. Bobs moved to a larger facility in the 1930s so that it could expand its product lines and was one of the few candy companies to remain solvent during the Great Depression.
As the economy improved, people bought more sweet treats, but Bobs Candy was then leveled by a tornado and, as the company had no tornado insurance, they had to rebuild on their own. By August 1940 the company was back in business and employed McCormack’s three children.
During World War II (1941-45), when sugar was rationed, coconuts were in short supply, and pecans were expensive, Bobs took advantage of a plentiful local product—the peanut—and sold peanut-butter crackers and vacuum-packed peanuts. During the 1950s, Bobs began making money with such innovations as break-proof packaging, moisture-proof candy wrappers.
In 1952, Bob McCormack’s brother-in-law, Catholic priest Gregory Keller, invented the Keller Machine which automated the process of twisting soft candy into spiral striping and then cutting them into precise lengths as candy canes.
Harding Keller invented the Keller Machine around 1950 for his brother-in-law Bob McCormack. The machine twisted and cut stick candy, allowing for the mass production of the company’s signature candy canes and other items. – Courtesy of Farley’s and Sathers Candy Company, Inc.
First, candy sticks cut to the desired length enter the machine. Each stick is bent individually, but the machine has a system of multiple grippers and rollers to continually bend the sticks, one after the other. As each stick enters the machine, it is positioned in a gripper which holds the straight portion of the cane with the part to be bent protruding out. Each gripper has on one side a curved die which the protruding end will be bent over. The candy stick is first bent to a right angle as it is moved past and put into contact with an inclined face. The patent application describes two potential versions of the mechanism which complete the bending process.
The first version of the mechanism has a chain around two sprockets on which are mounted bending rollers. Each bending roller is attached to a cam which rides along another inclined face to move the roller along the protruding surface of the cane to complete bending it around the die. In the second version, the chain and sprockets are replaced by a wheel on which the bending rollers are mounted. In modern candy cane production, the sticks are wrapped in cellophane before they are bent.
By the middle of the century, Bob’s company – originally the Famous Candy Company, then the Mills-McCormack Candy Company, and later Bobs Candies, had become one of the world’s leading candy cane producers.Bobs Candies was sold to Farley’s and Sathers in Spring 2005. Farley’s and Sathers merged with the Ferrara Candy Company which continues to make candy canes under the Bobs name.
By the middle of the century, Bob’s company – originally the Famous Candy Company, then the Mills-McCormack Candy Company, and later Bobs Candies, had become one of the world’s leading candy cane producers.
1799-1810 ca. Cotton Muslin Gown, Probably American. White cotton embroidered muslin, probably Bengal, all over sprigged broderie anglaise decoration,short sleeve with three pairs of inside ties to adjust the double-puff, ruffled edge, back tie at neckline and waist, ruched band above the slightly trained hem with scalloped sawtooth border and with cotton bodice lining. via whitakerauction.smugmug.com
These lightweight white cotton dresses were fashionable in Jane Austen’s times, but they were certainly not warm when a lady was out walking or when riding in a carriage. Numerous outer layers could be added for warmth and to brighten and personalize an outfit. These might be an overdress, pelisse or redingote, hat, shawl, gloves, or large fur muff.
The Empire dress which evolved in the late 1790s began as a chemise shift gathered under the breasts and at the neck. Named after the First Empire in France, by 1800 Empire dresses had a very low décolleté, or neckline and a short narrow backed bodice attached to a separate skirt. Skirts started directly under the bust and flowed into the classical relaxed wide styles of Greece and Rome. This style of dress is associated with Jane Austen and her contemporaries as a simple cotton high-waisted dress was worn most days and accessorized according to the importance of the occasion.
1815-1825 ca. Dark Green Leather Woman’s Slippers, French. The type of shoes worn by Jane Austen and her female friends and family. Made in France and worn in Boston, Massachusetts, USA. Worn by Mehetable Stoddard Sumner (Welles), American, 1784-1826. Green silk bows, lapped side seams, green silk bindings, black silk ribbon ties, plain linen drawstring at fronts, white leather insoles, white linen vamp linings; leather soles. Written in ink on insole was ‘Droit’, meaning right side, although both shoes may have been the same. via Museum of Fine Arts, Boston. mfa.org.
Shoes in the early 1800s were flat or low heeled and occasionally decorated with a bow or floral embellishments and it wasn’t until the 1820s that square, rather than rounded, toes became fashionable. Typical Regency Era women’s footwear were shoes that had low heels, slightly rounded toes, embellished with a bow and with ribbon ties for the ankles. Made of soft kid or cloth, these delicate shoes were flimsy and wore out quickly. Slippers were often bought in multiples at a time and with no difference between left or right foot so when one slipper had a hole it was easily replaced.
19th Century Early Reticule, Or Bag, New England, England or U.S.A. Septagonal, or four sided, with embroidery and silk tassels. White satin embroidered with polychrome silks, silver threads, silver sequins. On front, in center of wreath of roses tied with blue bow, is written VALUE THE TRIFLE. On back, in similar wreath, is FRIENDSHIP. On sides are floral motifs, one of sweetpeas and the other of pansies. On all sides a border of silver threads in chain motif entwined with curling brown vine. Primarily worked in satin stitch. Thirteen silk tassels attached. White ribbon ties. via Museum of Fine Arts, Boston, U.S.A. mfa.org
Definition Reticule Or Ridicule Or Bag or Purse: Often with a drawstring to pull closed and usually made of cloth or covered cardboard and often decorated with beading or embroidery. A reticule, or purse, or handbag, was usually carried by a woman during the Regency period to carry all their daily necessities. Earlier, women used pockets that tied at the waistline and were hidden in the folds of their skirts. Empire style, or early 1800s, high-waisted dresses made it impossible to either sewn in a pocket or to tie on a pocket. So women began carrying small, decorated bags called Reticules, or ridicules, which generally pulled close at the top with a drawstring.
1800-1830 ca. Reticule, or Bag, American. Bottom of bag shaped like basket and made of stiff deep cream colored mohair with minute blue figure, two panels of light blue painted silk moiré, upper part of bag of deep cream colored figured silk, blue silk ribbon, drawstring and bows trimming lower part of bag. via Museum of Fine Arts, Boston, U.S.A. mfa.org
Definition Reticule Or Ridicule Or Bag or Purse: Often with a drawstring to pull closed and usually made of cloth or covered cardboard and often decorated with beading or embroidery. A reticule, or purse, or handbag, was usually carried by a woman during the Regency period to carry all their daily necessities. Earlier, women used pockets that tied at the waistline and were hidden in the folds of their skirts. Empire style, or early 1800s, high-waisted dresses made it impossible to either sewn in a pocket or to tie on a pocket. So women began carrying small, decorated bags called Reticules, or ridicules, which generally pulled close at the top with a drawstring.
