In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns worn by male and female infants began to be modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.A mid-nineteenth century christening (baptismal) gown, constructed of sturdy white cotton featuring a long skirt, high neck and long sleeves. The gown is constructed by hand, and there is evidence of home-finished needlework, The bodice is loosely pleated with gathering at the high waist, A later cotton tie was attached at the centre waist and commercial lace added to the neckline and cuffs.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This handmade evening dress, worn by Kaye Cole, former mayor of Kew in 1979-80, has strong local provenance to the district.Purple caftan with embroidery and beading at the neck and on the sleeves, given to the donor by Kaye Cole, former councillor and Mayor of Kew 1979-80. The costume is believed to have been worn at various civic functions.kaye cole, mayor of kew 1979-1980, evening dresses, fashion - melbourne - 1970s

A mitre is the traditional, ceremonial head-dress of bishops. This early 20th century example is of a low cut style in its original case. It is decorated in a baroque style with arabesques and paste and is believed to have belonged to Ballarat's second bishop James Moore.bishop moore, ballarat, mitre, gold embroidery, stones, paste.

This altar cloth is representative of ecclesiastical linen in use in the early to mid-20th century. It is decorated with the Mariner's Cross symbol, connecting it to the history of the early Christian church. The cover for the cloth shows the respect the maker had for the cloth and what it stands for. The Mariner's Cross symbol also makes it appropriate as an altar cloth for the St Nicholas Seamen's Church at Flagstaff Hill Maritime Village. Mariner’s Cross symbol and what it symbolises The symbol of an anchor that also looks like a cross is called the Mariner’s Cross (also called the Anchored Cross or Cross of Hope). It looks like a ‘plus’ sign with anchor flukes at the base and a ring at the top. The anchor is one of the earliest symbols used in Christianity and represents faith, hope and salvation in times of trial. The Mariner’s Cross is linked to the scripture in Hebrews 6:19, which says “Which hope we have as an anchor of the soul, both sure and steadfast, and which entereth into that within the veil”. This particular Mariner’s Cross also has the letter ‘X’ under the post of the anchor. In Greek, the language of the New Testament, the word for Christ is ‘Christos’, which begins with the Greek letter ‘X’ or ‘Chi’. Together, the elements on this Mariner’s Cross - anchor, cross and ‘X’ - symbolise to the Christian that Jesus Christ the Saviour gives security and safety, hope and salvation. Many church organisations still use various forms of the Mariner’s Cross. This design is also known as the Anchored Cross or Cross of Hope. The Missions to Seamen organisation The Missions to Seamen is an Anglican (Church of England) charity that has been serving the world's seafarers since 1856. It was inspired by the work of Rev. John Ashley who, 20 years earlier, had pioneered a ministry to seafarers in the Bristol Channel in Great Britain. When Ashley retired because of ill health, others determined that the work should continue, and they founded the Missions to Seamen. It adopted as its symbol a Flying Angel, inspired by a verse from Revelation 14 in the Bible. Today there are over 200 ports worldwide where the Missions to Seamen has centres and chaplains. A Missions to Seamen’s Club offers a warm welcome to sailors of all colours, creeds and races. A sailor can watch television, have a drink and a chat, change money or buy goods from the club shop or worship in the Chapel. In Victoria, the Missions to Seamen still has clubs in Melbourne, Portland and Geelong. The altar cloth is representative of the ecclesiastical linen in use in the early to mid-20th century, when the original St Nicholas Seamen's Church was opened in Williamstown, Victoria. The Mariner's Cross embroidered onto the altar cloth gives it a connection with the early Christian church and with the Missions to Seamen. The fine hand stitching and embroidery is an example of traditional handcraft skills used over the centuries and still continuing in use today.Altar cloth, white linen, with custom made white cotton cover. The long rectangular cloth has the symbol of a Mariner's Cross (anchor and cross) embroidered with white silk thread on each short end. The wide hems are hand stitched. The cover has two white tape ties and embroidered text in blue silk thread. On cloth: symbol of (anchor with an 'X' stitched behind the centre of it). On cover, text "FLAGSTAFF/ HILL" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, religion, religious service, st nicholas seamen’s church flagstaff hill, altar cloth, church linen, ecclesiastical linen, mariner’s cross, anchor cross, cross of hope, symbol of christianity, anchored cross

Drawn thread was an embroidery technique that appeared in the 17th century. In the late 19th and early 20th century it was used on linen and cotton to create decorative functional items such as this tablecloth. The item is of significance socially as an example of a decorative domestic object from the early 1900s. It is a fine example of drawn thread embroidery.Handmade decorative tablecloth created from soft white linen. A crochet lace edge decorates the outer edge of the tablecloth and drawn thread work has been used to create two large inner borders as well as fine edging borders.flagstaff hill maritime museum and village, great ocean road, shipwreck coast, great ocean road, tablecloth, linen, crochet lace, drawn thread work, textile, domestic object, decorative lace edging

Red covered pattern book of needlework designs from Briggs of Manchester. Over 130 pages with inserts and advertising specific products in the Briggs range.non-fiction