A Prayer for Zealous Shepherds

Thanks to Father Finigan we found this beautiful prayer of Saint John Fisher, dating from the year 1508, which he uttered during a Sermon. It is a prayer for the appointment to the Church of good bishops. Unfortunately the prayer was not answered as fully as he might have hoped. John Fisher, Bishop of Rochester since 1504, was the only Bishop in Catholic England to refuse to assent to the Act of Supremacy, the supreme arrogation of the vile despot Henry VIII (Tudor), severing England from Communion with the Roman Church. For such a refusal, Fisher was put to death by the tyrant in June 1535.  Pope Paul III had made him a Cardinal shortly before his death. Pope Pius XI canonised him four hundred years later (together with Sir Thomas More).

The portrait accompanying this post is described here . Based on Holbein's famous drawing, this portrait might easily be a photograph taken yesterday, so lifelike is it.

Lord, according to Your promise that the Gospel should be preached throughout the whole world, raise up men fit for such work. The Apostles were but soft and yielding clay till they were baked hard by the fire of the Holy Ghost.

So, good Lord, do now in like manner again with Thy Church militant; change and make the soft and slippery earth into hard stone; set in Thy Church strong and mighty pillars that may suffer and endure great labours, watching, poverty, thirst, hunger, cold and heat; which also shall not fear the threatening of princes, persecution, neither death but always persuade and think with themselves to suffer with a good will, slanders, shame, and all kinds of torments, for the glory and laud of Thy Holy Name. By this manner, good Lord, the truth of Thy Gospel shall be preached throughout all the world.

Therefore, merciful Lord, exercise Thy mercy, show it indeed upon Thy Church.

AMDG

The Season Per Annum 2025 : 13

The vestments in this post were made from an ecclesiastical brocade in a muted shade of green and fully-lined in crimson-red taffeta.  The Saint Bede Studio has made such vestments on many occasions now and also matching dalmatics.  The combination of colours has been found very attractive by our customers.

The vestments are ornamented with one of the Studio's unique braids, being a replica of a design by AWN Pugin; it is called Saint Chad.  Notice how this braid is arranged : the greatest care is taken with all our vestments to ensure that braids are precisely and harmoniously aligned, not cutting away design elements.  

In the attached image, you can see how carefully the green medallions of this braid are arranged.  

In this instance, the chasuble is worn with an apparel in the mediaeval style, using the same orphrey braid and forming a collar attached to the amice, not to the chasuble.

Click on the image for an enlarged view.

The Saint Bede Studio : vestments made by Catholics for Catholics.

Enquiries : stbede62@gmail.com

Please note that posts on this blog are set-up for optimal viewing via a web-browser, not via a mobile phone.

AMDG

The Feast of S' Thomas the Apostle

In this post, we are pleased to present a set of vestments of dignified appearance, made in the traditional Roman style.  The vestments are made from a splendid crimson-red brocade and fully-lined in a dark purple shade of taffeta.  The chasuble in this post is ornamented in the well-known Roman style, a TAU at the front and a column at the back, formed simply by an outlining bronze-coloured galloon. 

These vestments are in the Studio's Saint Philip Neri style, which is the product of years of research into historical vestments and refinement of dimensions for comfortable use.  The Studio revived this more ample 16th century style of the Roman chasuble in 2007 and since then we have made many of them.  Beware of poorly-made imitations!

The vestments of the Saint Bede Studio are beautiful in design, sound in construction and distinctive in appearance.

Click on the images for an enlarged view.

The Saint Bede Studio : vestments made by Catholics for Catholics.

Enquiries : stbede62@gmail.com

Information on placing an order.

Please note that posts on this blog are set-up for optimal viewing via a web-browser, not via a mobile phone.

AMDG

The Revision of the Roman Rite : 1964 - 1970

Celebration of Mass according to
the 1965 Missale Romanum.

Among the many over-reaching claims made during the Troubles of the twelve years happily concluded is one that stated that the revisions of the Roman Rite - specifically those which took place in and after the year 1969 - are "irreformable".  Only those who try to ignore or hide history could possibly come up with such a statement.  Graves and funerary monuments abound of those who considered their work to be permanent or irreformable.  Perhaps this is a small consolation for those still suffering the after-effects of Traditionis Custodes.

One of the lessons to be learned, however, from the Revision of the Liturgical books, which took place (mainly) between the years 1965 - 1970 is that changes took place in stages.

The first stage - introducing vernacular into the Rite of Mass and the celebration of the Sacraments was very dramatic and well-received.  Why it was so popular would bear a great deal of discussion, beyond the scope of this brief overview.  But there were no widespread protests against the introduction of the vernacular into the Roman Rite.  It seemed such a good idea, at least at first.  

Changes to the ritual actions of the Mass took place by degrees and - except for the innovation of the celebration of Mass facing the people at freestanding altars, went by without a great deal of handwringing or even attention, except of course for the celebrant and his ministers.  Ritually, so much was altered step-by-step in this period, that when the New Order of Mass came into effect on the First Sunday of Advent, 1969, it was seen quite clearly as just another revision amongst a continuum of revisions. That was the strategy and it was successful.

In a previous post, we presented the first of the Liturgical books to be released as a result of the decree of the Second Vatican Council Sacrosanctum Concilium.  We will continue to examine the many Anglophone Missals which were produced between 1964 and 1968 in further posts. Retrospectively, the form of the Roman Rite which existed between these two years has become known as the Interim Rite.  During those years, of course, such a term was not known, since that would have given the game away.  Except for those working behind the scenes, no one in 1964 / 65 would have believed that the Roman Rite would have been so drastically altered, such that Old and New bear only a basic resemblance.

For a younger generation the Missals of the so-called Interim Rite are largely unknown.  They make for a most interesting study.

The celebrant giving the Blessing during a
celebration of the Mass of the "Interim Rite".
The missal resting upon the altar is one of the Latin & vernacular
editions 1965-1968.

AMDG  

On the Feast of the Most Precious Blood

On this beautiful Feast, the Saint Bede Studio is pleased to present this image of a set of red vestments, the colour used for the Apostles, Martyrs and the Passion.  Even though this Feast is no longer in the Universal Calendar, many will still commemorate it.

The set was made from dupion silk in a subdued shade of red.  It is not the fiery  red used for the Feasts of the Holy Spirit, but closer to colour of blood.  The vestments were ornamented in the Roman style, with a TAU at the front and a column at the back, formed from a damask in colours of red and straw gold and an outlining galloon.  The lining was made of bronze-coloured taffeta.

The chasuble is in the Studio's Saint Philip Neri style, which is the product of years of research into historical vestments and refinement of dimensions for comfortable use.  The Studio revived this more ample 16th century style of the Roman chasuble in 2007 and since then we have made many of them.  Beware of poorly-designed imitations!

The work of the Saint Bede Studio is distinctive for its artistic qualities and the pains taken with every detail, such as the alignment of ornaments.  Even a restrained set of vestments like this is striking for its combination of colours and fine workmanship.

Click on the images for an enlarged view.

The Saint Bede Studio : vestments made by Catholics for Catholics.

Enquiries : stbede62@gmail.com

Please note that posts on this blog are set-up for optimal viewing via a web-browser, not via a mobile phone.

AMDG

On the Solemnity of Ss Peter and Paul

 

On this noble Feast of the Church's year, the Saint Bede Studio is pleased toa glimpse of a set of red vestments in the Gothic Revival Style.  The vestments were made from a rich shade of English ecclesiastical brocade and lined in taffeta of a brass-gold colour.  

The ornament was formed from one of the Studio's unique braids Saint Giles in colours of burgundy and straw-gold, upon red.  These vestments are simple in their ornamentation, but striking.  There is no need here for fine embroideries, but the effect is created with strong colours and contrasts : the hallmark of the work of the Saint Bede Studio.

Click on the images for an enlarged view.

The Saint Bede Studio : vestments made by Catholics for Catholics.

Enquiries : stbede62@gmail.com

Information on placing an order.

Please note that posts on this blog are set-up for optimal viewing via a web-browser, not via a mobile phone.

AMDG

The Studio Blog

Recently, there has been a substantial increase of visitors to the Saint Bede Studio blog : most exciting !

Are you a new reader of our blog posts?

Once a year, the Studio publishes a .pdf format newsletter in which some new vestments are presented, in addition to brief articles on the Sacred Liturgy.

If you are interested in subscribing to this Newsletter, please contact us at this e-mail address using the subject title " Newsletter ".

stbede62@gmail.com

Thank you for your interest in our work for the Church.

AMDG.

On the Feast of the Most Sacred Heart

On this beautiful Feast of the Sacred Heart, the Studio is pleased to present this simple set of vestments.

The colours which ornament this ivory-coloured chasuble are very fitting on this Feast : soft gold, red, green.

A column, made from silk, ornaments the front and back of the chasuble and upon the columns is sewn the Studio's braid Saint Edmund.  It features the letters I H S and the Cross in a stylised mediaeval arrangement.

These vestments are in the style we call Saint Anselm.  

The vestments of the Saint Bede Studio are beautiful in design, sound in construction and distinctive in appearance.

Click on the images for an enlarged view.

The Saint Bede Studio : vestments made by Catholics for Catholics.

Enquiries : stbede62@gmail.com

Information on placing an order.

Please note that posts on this blog are set-up for optimal viewing via a web-browser, not via a mobile phone.

AMDG

Our Ladye of Perpetual Succour

One of the many lovely Feasts of the Blessed Virgin Mary is under the title Nostra Mater De Perpetuo Succursu.  In the English-speaking world, succursu had always been translated as "succour".  More recently translated as "perpetual help", this does not fully convey the meaning of the Latin word subcurro : to run to the assistance of.  Perhaps "of perpetual assistance" would be better than "help" but both lack the vigour of the Latin.  

Our Mother who unceasingly hastens to our assistance.  What a comforting thought.  Her very name inspires confidence.

Pictured in this post is one of the Studio's range of vestments in honour of the Blessed Virgin.  It is called Salve Regina.

The Saint Bede Studio : vestments made by Catholics for Catholics.

Enquiries : stbede62@gmail.com

Information on placing an order.

Please note that posts on this blog are set-up for optimal viewing via a web-browser, not via a mobile phone.

AMDG

Papal Liturgies of the 16th century

At an old blog post, we found the adjacent image of a fresco and a description of the Coronation of the Spanish King Charles as Holy Roman Emperor at Bologna.

The Coronation was performed by Pope Clement VII in the Cathedral of San Petronio, Bologna on 24th February 1530.

The fresco is not painted onto a wall, but on the ceiling of the office of the Mayor of Florence in the Palazzo Vecchio.  It was painted by the artist Giorgio Vasari after 1555.

Vasari's depiction of the Coronation is quite interesting for students of the history of sacred vestments because, since it is painted in the middle of the 16th century, a transitional point from mediaeval to baroque styles is illustrated.

A detail of Vasari's 16th century fresco.

In the detail shewn above, Pope Clement is placing the crown upon the head of the Emperor. We find the Pope vested in a linen albe, with close fitting sleeves and whose skirt is ornamented with an embroidered apparel. It would appear that the cuffs of the albe are enriched in some way. Notice, however, that there is no sign of lace in the Pope's albe. Over the albe, the Pope is wearing an ample golden chasuble. The chasuble is very flowing and partly folded back at the arms. Not unusually, we find the painting does not represent the Pope dressed in full pontificals, since he lacks the tunicle and dalmatic, but most importantly, he is lacking the pallium. An extremely short and narrow maniple is upon the left forearm of the Pope. This is a far-cry from the exaggerated spade-ended maniples of the High Baroque.

Assisting the Pope are two deacons, vested in matching dalmatics which are also quite ample. The dalmatic are ornamented with the clavi, but also an apparel at the upper back (presumably also upon the breast). A roundel upon the apparel appears to be embroidered with IHS. Pendants of tassels hanging from the shoulders of the dalmatic are also depicted, a feature of late mediaeval / early baroque ornamentation. It is believed that such tassels were originally an elaboration of the lacing used to tie together the front and back of the dalmatic at the shoulders. Subsequently, they became purely decorative.

Another detail of Vasari's fresco.

Another detail of Vasari's fresco is shewn above, which depicts some of the bishops present at the Coronation. These bishops are all depicted wearing Mass vestments: amice, albe, cincture, stole, maniple and chasuble. In each case, the amice of the bishops is ornamented with an apparel: a survival of mediaeval usage. Although their albes are unornamented, the close-fitting cuffs appear to be decorated. The four bishops are wearing chasubles which are less ample than the one the Pope is depicted as wearing, but nevertheless appear to be gathered away from the elbows and are long and flowing. Each of the chasubles is decorated with the TAU Cross, which was the usual form of ornament in Italy. The bishop in the centre, with hand raised, also wears a diminutive maniple.

We might also comment on the mitres worn by these bishops, which are more or less identical to each other. They are the simplex mitres worn by non-officiating or concelebrating bishops, just as happens today. These mitres are also in the style of the 15th century (which differed little from that of the 14th century) being neither excessively tall (these ones are approximately 12" tall) nor with rounded sides (a style which became fashionable in Rome in the 16th century and persists to this day).

Although the scene depicted by Vasari is probably not very accurate as a presentation of a Papal Liturgy, nevertheless it undoubtedly depicts the style of vestments used throughout Italy in the 16th century. It demonstrates that Catholic Tradition in the age of the Council of Trent did not include "fiddleback" chasubles, lace albes and excessively tall mitres.  

Click on the images for an enlarged view.

AMDG