Probably the most well-known fact about Freemasons for the general public is that we wear aprons for our ceremonies. What is less well known, even amongst members of the Craft itself, is the vast range of apron designs which exist.
     Today we have settled upon standardised designs: the Craft, the Royal Arch, each Order and Chapter beyond the Craft have their distinctive aprons. The Craft begins with a very basic example and as the candidate passes through the degree ceremonies he has elements added to it so that his progression in the Craft can be seen immediately by other brethren. Each country too has its distinctive primary colours - for example, blue for England and Green for Scotland although much variation is allowed, tartan in Scotland being one obvious example. But it was not always like this.
     Originally the aprons were simple workman’s aprons, longer than those worn today and devoid of added symbolism. During the latter part of the eighteenth century these began to become smaller yet simultaneously more ornate. Many received much of their embellishment from the recipients themselves - there was an old tradition of having the apron prepared and decorated at home. George Washington’s apron, for example, given to him by the French General, the Marquis de Lafayette in 1784, was embroidered with its symbols by Madame de Lafayette. Of course, at the same time, many were quite primitive since not everyone had a great artistic talent.
     But many did reveal great talent as is revealed by the aprons illustrated here, in particular, that said to have been embroidered by King George III’s waistcoat maker. The garter blue stripe around the edge of this particular example may indicate that the wearer held Grand Rank; on the other hand it might just be an early Prince of Wales’s Lodge apron. This lodge, No. 259, was founded in 1787 by George III’s son, later King George IV, when he was Prince of Wales. Members of the Lodge, uniquely, are permitted to this day to wear the ribbon of garter blue on their aprons.
     The symbolism is unusual: the all-seeing eye on the flap; three women at the lower part who may represent Faith, Hope and Charity; but the central woman between the pillars could be wisdom, she is sitting upon the five steps leading into part of the Temple not unknown to those going through the Second Degree. To the right is a depiction of the five Orders of Architecture. In the centre is the Ark of the Covenant within a nimbus.
     Standardised features began to appear on aprons in the United Kingdom with the so-called Moira apron of 1813 which was printed upon the leather from an engraved plate. Until this time aprons would hold all the symbols of the Degree, sometimes, all the symbols of the Craft, the Royal Arch, or the additonal degrees which the wearer belonged to. The most ornate of all being those of the Ancient and Accepted Rite, especially those created in France. The Ancient and Accepted Rite in England and Wales ceased the wearing of aprons in 1978 but many early examples exist in our masonic museums.
     However, the Tracing Boards and Floor Cloths used in the rarely performed Intermediate Degrees of the Ancient and Accepted Rite do carry many of these symbols found on the eighteenth century aprons: for example, the Ark of the Covenant is found in the 23rd Degree, the seven branched candlestick in the 14th Degree, the Burning Bush in the 25th Degree, and the Ark of the Covenant and Caduceus in the 26th Degree;
     But today, all of these fascinating and instructive symbols, so common in the eighteenth century, have disappeared from the Craft aprons. There are many who regret their passing.

Mark Dennis, not a Freemason, is the Curator of the Library and Museum of Freemasonry, Freemasons’ Hall, Great Queen Street, London: it is open 10 am - 5 pm Monday to Friday (last tour leaves at 4 pm). Special tours can be pre-booked Saturdays from 10.30 am.