The Saint Bede Studio Blog

An old favourite

2012-02-12T00:16:00.000+11:00

Of all the styles of vestments regularly made by the Studio, the Maria Regina chasuble is the one enquired about most often.

These vestments, made from an Ivory-coloured damask and lined in blue dupion silk, are ornamented in a braid specially made for the Studio, based upon the work of AWN Pugin. The chasuble is usually made in the style of the 16th century: being not very wide and pointed at the front and the back.

This particular set was made for a young priest of the Archdiocese of Sydney.

Click on the image for an enlarged view.

Enquiries: stbede62@gmail.com

Archdiocese of Dublin

2012-01-26T14:18:00.000+11:00

Some months ago, an English priest resident in the Archdiocese of Dublin commissioned the Studio to make a set of vestments for use in his Parish, based on the familiar pictures of Saint Philip Neri. The result is shewn in the picture at the left. This chasuble is of ivory and straw ecclesiastical brocade and is ornamented with another brocade in burgundy and gold. The effect is very rich.

The Saint Bede Studio developed its own interpretation of this 16th century style of chasuble, based upon extensive research, but adapted for modern use. It is not an attempt to exactly reproduce 16th century exemplars. This Saint Philip Neri chasuble has proved a particularly popular style with young priests.

Ad majorem Dei gloriam.

Click on the image for an enlarged view.

Enquiries: stbede62@gmail.com

For the Season "Per Annum"

2012-01-16T14:13:00.000+11:00

The Studio has been working on a commission for a Solemn Mass set in green for a Parish in the Archdiocese of Saint Paul-Minneapolis. The adjacent photograph shews a dalmatic from this set.

The vestments are made from a Green English brocade, lined in red silk and ornamented with an orphrey braid in Red, burgundy and gold. This braid, based on a design by AWN Pugin, has been especially produced for the Saint Bede Studio.

A future post which describe further parts of the set.

Click on the photograph for an enlarged view.

Enquiries: stbede62@gmail.com

Labels

2012-01-14T11:31:00.003+11:00

Frequently, enquirers ask me for a catalogue of vestments produced by the Studio, but since our work is custom-made, a catalogue generally cannot be supplied. Instead, I usually direct enquirers to look through the Blog to find photographs of vestments they might find appealing.

Realising, however, that this is time-consuming, I am tweeking this Blog by adding LABELS to most posts (retrospectively). This has now been completed.

This will allow visitors readily to search for styles and colours of vestments that have been featured here, which I hope will be useful.

A Request to 2012 Ordinands

2011-12-26T09:00:00.006+11:00

If you are approaching priestly ordination in mid-2012 and are considering approaching the Saint Bede Studio for ordination vestments, PLEASE contact us without further delay. A request left too late may result in disappointment all 'round.

A Blessed Christmas

2011-12-25T00:01:00.016+11:00

To all friends, customers and readers of this Blog, sincere wishes for a Blessed Christmas.

Every valley shall be exalted, and every mountain and hill be made low; the crooked shall be made straight and the rough places plain; and the Glory of the Lord shall be revealed and all flesh shall see it together, for the mouth of the Lord has spoken it.
Isaiah 40:4-5.

Michael Sternbeck
The Saint Bede Studio.

Festal Vestments

2011-12-20T17:38:00.000+11:00

A returning customer commissioned the Studio to prepare a Solemn Mass set for Greater Days. A chasuble, cope, dalmatic and tunic were made from a splendid Renaissance-style silk damask in silver and gold, ornamented with a silk damask of burgundy and gold, outlined with a narrow galloon. All the vestments were fully lined in cherry-red cotton.

The ornamentation of the chasuble (see below) was in the traditional Roman style of the TAU.

Click on the images for an enlarged view.

Enquiries: stbede62@gmail.com

Chasuble in the Borromeon form

Pontifical Mass at Saint Patrick's Cathedral Melbourne

2011-12-16T10:58:00.000+11:00

In the beautiful setting of the Sacred Chapel of Saint Patrick's Cathedral, Melbourne, well-known Liturgist and auxiliary bishop of Melbourne, the Most Reverend Peter Elliott, offered Pontifical Low Mass in the Usus Antiquior on Wednesday 14th December: a ferial day in Advent. The Bishop was assisted by Chaplains to the Latin Mass Apostolate in Melbourne, Fathers Colin Marshall and Glen Tattersall.

Some photographs taken on the occasion by Dr Chris Steward are included. Other photographs can be viewed here.

Click on the images for an enlarged view.

Papal Mitres - part 3

2011-12-14T12:30:00.001+11:00

Amongst the many remarkable features of Benedict XVI's Pontificate is the rather singular distinction of having used more mitres as Pope than all of his predecessors of the last 200 hundred years put together! This is the third in a series of posts about those Papal mitres which I find pleasing, together with a description of them.

The mitres of Pope Benedict fall (almost) into two categories: those used during the tenure of Marini the First (Piero Marini) and those used during the tenure of Marini the Second (Guido Marini).

The third in our series, shewn above, is part of the Marini the First range and was worn on Ash Wednesday at the Roman Basilica of Santa Sabina in the years 2006 and 2007 and on three other occasions in those same years. This mitre is a very inventive adaptation of the mediaeval mitre. A similar mitre was used by Pope John Paul II.

As we know, the most common form of ornamentation for the mitre, as it developed in Tradition, was for a decorative band to be run around the crown of the head. This band was called the circulus. Another band extended at right angles to the circulus, forming an upside-down "T". This vertical ornamentation was called the titulus. Often, the circulus and titulus were lavishly embroidered.

Returning to the mitre of this post, it is made from a silver fabric and its circulus and titulus are formed from a beautifully-conceived cross-hatching of violet and silver braids, all done by hand. The shape and height of the mitre are very well proportioned, according to the manner of the early mediaeval period and well-suited to the stature of its wearer, Pope Benedict. The lining of the mitre is a beautiful light shade of violet.

On two of the afore-mentioned occasions, the Pope was given a cope to wear, matching the mitre (adjacent photographs). Like the mitre, the cope's orphrey is formed from a cross-hatching of violet and silver braids, on a silver background. The decoration is beautiful and striking. Unhappily the fabric of the cope is a glittery affair, metallic threads being interwoven with the violet ground fabric: quite unsuited to the Sacred Liturgy. A very ample chasuble (also shewn in an adjacent photograph) in a similar style was also used by Pope Benedict. A similar chasuble and cope had been used in the latter years of the reign of Pope John Paul II. From a distance, both chasuble and cope have a very fine appearance.

Ash Wednesday, 2006 at Santa Sabina.

One last thing must be commented on. The mitre under discussion presents a very attractive way of ornamenting a mitre for the Penitential Seasons: one recalls horrific examples of bishops wearing violet or purple mitres of the most tasteless variety. Nevertheless, the Ceremonial of Bishops appoints that on Ash Wednesday the simplex mitre is to be worn. It is noteworthy that upon becoming Papal Master of Ceremonies, Monsignor Guido Marini replaced the mitre featured in this post with a simplex mitre for subsequent celebrations of Ash Wednesday at Santa Sabina.

Click on the images for an enlarged view.

Gaudete Sunday in Melbourne

2011-12-11T22:08:00.001+11:00

Some years ago, the Studio made a Solemn Mass set in Rose for the Latin Mass Community at S' Aloysius church, Caulfield North (Archdiocese of Melbourne). We are pleased to include here two photographs taken at the Gaudete Sunday Mass by intrepid photographer Dr Chris Steward. The celebrant and preacher was Father Colin Marshall.

Please click on the images for an enlarged view.

Rosa Mystica in Germany

2011-12-10T09:00:00.058+11:00


Soaring Gothic Interior of the Frankfurt Cathedral

In 2010, a priest resident in Germany, commissioned the Studio to make a vestment for use on Gaudete and Laetare Sundays. The Rosa Mystica chasuble, shewn below, has been used in the venerable Cathedral Parish of Frankfurt-am-Main. The chasuble is made from a damask, ornamented with a Gothic foliage braid, and lined in grey cotton.

Father Stenger at the High Altar of the Frankfurt Cathedral

Father Marc Stenger has very kindly sent a photograph for inclusion in this post of himself at the magnificent High altar of the Frankfurt Cathedral, wearing the Rosa Mystica chasuble. Thank you Father.

Splendid setting of the Frankfurt Cathedral

Choir of the Frankfurt Cathedral

Other photographs of the Cathedral are also included, which are taken from the Flickr collections of Frankartculinary and Mbell1975.

At left is shewn a Studio photograph of the Rosa Mystica chasuble.

Ad majorem Dei gloriam.

Please click on the images for an enlarged view.

Enquiries: stbede62@gmail.com

Refashioned vestments

2011-12-08T09:00:00.003+11:00

Sometimes, the Studio undertakes work on already existing chasubles, which might be either in disrepair or in need of aesthetic revitalisation.

One such was a Marian chasuble, made some years ago for an Australian priest. Sewn from an attractive ivory jacquard, its impact was lessened by a rather unrelieved ornament formed from a very dark blue orphrey (almost navy), outlined with upholstery cord.

The orphrey was removed and parts of it were cut-up into small diamonds. Upon each of these diamonds was applied a quatrefoil formed from a foliated Cross in the colours of Royal Blue and ivory. The column orphrey itself was replaced with dupion silk in a mediaeval blue colour, and the diamonds with their appliques were stitched to the dupion orphrey, front and back.

As a finishing touch, the orphreys were outlined with a narrow galloon in deep blue and ivory.

The result is shewn in the photograph: to the greater Glory of God and in honour of the Blessed Virgin Mary.

Click on the image for an enlarged view.

Another Approach to Violet Vestments

2011-12-04T09:00:00.012+11:00

We are pleased to post a description of a set of vestments for the Penitential Seasons, which was a gift to a young priest of the Diocese of Richmond (USA).

These vestments are made from an Indigo-violet dupion silk and fully lined in dupion silk of crimson colour.

The vestments are ornamented with a new braid specially produced for the Saint Bede Studio. This braid is derived from orphrey braids designed by AWN Pugin. In 2012, further Puginesque braids will be manufactured for the exclusive use of the Studio.

Ad majorem Dei gloriam.

Click on the image for an enlarged view.

Enquiries: stbede62@gmail.com

Priestly Ordinations 2011 - part 8

2011-11-29T09:00:00.000+11:00

The last in this series of Ordination vestments features a set of vestments prepared for a young man who was ordained to the Sacred Priesthood in Saint Patrick's Cathedral, Diocese of Ballarat (Vic) in September.

Please pray for Father John Corrigan and all newly-ordained priests.

The ordinand asked for a chasuble in a Puginesque style. A Renaissance-foliage silk damask in ivory and gold was chosen for the vestments, ornamented with braids in crimson and gold, outlined with a narrow galloon. The chasuble was fully lined in gold-coloured taffeta.

Ut in omnibus Deus glorificetur.

Please click on the images for an enlarged view.

Enquiries: stbede62@gmail.com

Father Corrigan pictured during the Ordination Mass

Violets are Blue

2011-11-27T08:52:00.000+11:00

Two shades of "violet".

I often read here and there vigorous assertions about the "correct" colour of vestments to be used during Lent and Advent. Curious as to the history of these colours in Liturgical use, I researched and posted an article a few years ago on this Blog about use of penitential colours for the Seasons of Advent, Lent &c. If you have wondered what colour the Church recommends for these Seasons, you will find the article illuminating. That post may be read here and here, so there is no need to rehearse its findings.

The photograph above depicts two different shades of the colour "violet". Violet is a blue-tinged colour: it is quite distinct from the colour purple, a shade of which is used as the choir dress for bishops and lesser prelates.

The darker of the two colours may more properly be described as indigo.

Contrasts

2011-11-24T21:20:00.000+11:00

Contrasts

These engravings were taken from Teaching Truth by Signs and Ceremonies, by the Rev'd James Meagher, New York, 1885 (left) and Vestments and Vesture, by Dom E A Roulin OSB, Edinburgh, 1930 (right).

Vestments for Advent

2011-11-23T15:11:00.000+11:00

Adjacent is a set of vestments completed by the Studio for a priest of the Archdiocese of Sydney. The chasuble is in the Borromeon form and decorated in the Roman style. Father wished to have vestments for the Penitential seasons which were dark in colour and had no form of gold ornament upon them.

After some consideration, a scheme which consisted of darker and lighter shades of violet, outlined in a galloon of black and silver was adopted. Diamond-shaped medallions were also applied to the orphrey to give it more presence.

Because the Penitential seasons in Australia correspond with the extremes of summer, the vestment was made from dupion silk and lined in grey-coloured taffeta.

Ad majorem Dei gloriam.

Click on the image for an enlarged view.

Enquiries: stbede62@gmail.com

Christ the King

2011-11-20T09:00:00.002+11:00

A young priest from the Diocese of Arundel & Brighton (UK) recently commissioned the Studio to make a set of Festal vestments for the most solemn days. A cloth gold brocade was chosen and the chasuble was made-up in the Gothic Revival style. Because the fabric is so lavish, it was decided to ornament the chasuble simply with outline braids (as shewn).

Ut in omnibus Deus glorificetur.

Click on the image for an enlarged view.

Enquiries: stbede62@gmail.com

Festal chasuble

2011-11-15T09:00:00.020+11:00

A priest from Canada, a returning customer of the Studio, commissioned a chasuble to be made in the 16th century style for Festal days.

This S' Philip Neri style chasuble was made from an ivory-coloured ecclesiastical brocade and fully lined in gold dupion silk. A renaissance-design brocade in gold and red was chosen to ornament the chasuble, outlined in a galloon of the same colours.

Click on the image for an enlarged view.

Enquiries: stbede62@gmail.com

Priestly Ordinations 2011 - part 7

2011-11-11T12:33:00.000+11:00

As an addendum to the previous post, adjacent is a studio photograph of the chasuble made for the Ordination of Father Morgan. The chasuble is made from a silver/gold silk damask and is ornamented with Puginesque braids in red and gold.

Click on the image for an enlarged view.

Priestly Ordinations 2011 - part 6

2011-11-09T15:37:00.002+11:00

Continuing our series of Ordination vestments, are sets prepared for three young men who was ordained to the Sacred Priesthood in St Mary’s Cathedral, Sydney in May by His Eminence Cardinal Pell.

Fathers Peter Kwak, Emanuel Seo and Gregory Morgan had undertaken priestly studies at the Sydney Archdiocesan Seminary in Homebush. Please pray for Fathers Kwak, Seo, Morgan and all newly-ordained priests.

The ordinands asked for vestments in the "Gothic Revival" style, but each chasuble was ornamented differently.

The photograph at left depicts the scene inside Saint Mary's Cathedral, Sydney, during the Mass of Ordination.

The photograph below shews the newly-ordained emerging from the Cathedral after the Mass of Ordination.

Please click on the images for an enlarged view.

Enquiries: stbede62@gmail.com

Vestments a new priest needs for the Ordinary Form, part I

2011-10-25T13:00:00.001+11:00

I am often asked what a newly-ordained priest needs in the way of vestments, so I am putting together a series of recommendations, based on my years of experience and observation.

Ideally, of course, a young priest for the needs of the Ordinary Form of the Roman Rite would own a set of vestments in the Liturgical colours of white, green, red and violet. Of these, red is used least throughout the Liturgical year, so that the priority list of needs could become:

White vestments: chasuble, stole, chalice veil

Violet vestments: chasuble, stole, chalice veil

Green vestments: chasuble, stole, chalice veil.

Every priest ought to have available for his use a set of the above three colours.

Some additional points.

For the various rituals of the Roman Rite, a priest ought to have available a cope in white and a cope in violet.

If it can be afforded, a priest should have two sets in different shades of the colours, white, violet and green. A congregation often appreciates seeing some variety in the vestments that are used. Remember, it is the congregation which is looking at the vestments during Mass, not the priest wearing them.

Saint Philip Neri vestments

2011-09-28T19:24:00.012+10:00

A priest from the Archdiocese of New York commissioned the Saint Bede Studio for a set of vestments according to the style now referred to as Saint Philip Neri. In this instance, the vestments were made from an English ecclesiastical brocade and lined in gold-coloured dupion silk. The ornament, according to the traditional style of Rome, was formed simply from braids running in parallel lines.

Father James Ferreira is shewn in the adjacent photograph, wearing the vestments.

Enquiries: stbede62@gmail.com

Click on the photograph for an enlarged view.

Jubilee Vestments

2011-09-22T19:13:00.002+10:00

The Saint Bede Studio was commissioned to prepare a set of red vestments to commemorate the Golden Jubilee of Ordination of a Sydney priest, Father Patrick Sharpe MSC.

A Renaissance-style Italian silk damask of cherry red and old gold was chosen for the design, which was ornamented with a pallium-style orphrey in red-silk. Appliques were added to the orphrey to provide highlights. The lining used for Father Sharpe's vestments was red silk taffeta.

Enquiries: stbede62@gmail.com

Click on the photograph for a larger view.

Puginesque vestments

2011-09-17T13:48:00.000+10:00

Pictured is the Saint Giles chasuble, a familar style to readers of this Blog. It is simplified version of a design by A.W.N. Pugin. A green brocade (Emerald green on a very dark base colour) is ornamented with a Puginesque braids in red and gold and lined in scarlet-red. The braids were produced exclusively for the Saint Bede Studio.

This chasuble was commissioned as a gift to a priest resident in the Archdiocese of Sydney.

Enquiries: stbede62@gmail.com

Click on the image for an enlarged view.

Priestly Ordinations 2011 - part 5

2011-09-03T10:41:00.000+10:00

Ordination Mass of Father Damian McCaughan

Continuing our series of Ordination vestments, is a set prepared for a young man who was ordained to the Sacred Priesthood in St Malachy’s Church, Coleraine (Northern Ireland) on 3rd July by the Bishop of Down and Connor.

Father Damian McCaughan had undertaken priestly studies at the Pontifical Irish College, Rome. Read a little more about Father McCaughan here. Please pray for Father McCaughan and all newly-ordained priests.

Ordination Mass of Father McCaughan

The ordinand asked for a chasuble in the Borromeon style. A Renaissance-style silk damask in silver and gold was chosen for the vestments, ornamented with a silk damask of burgundy and gold, outlined with a narrow galloon. The ornamentation is in the traditional Roman style of the TAU. The chasuble was fully lined in cherry-red cotton.

Please click on the images for an enlarged view.

Enquiries: stbede62@gmail.com

Priestly Ordinations 2011 - part 4

2011-08-21T13:17:00.002+10:00

The fourth in this series of Ordination vestments features sets of vestments prepared for a young man who was ordained to the Sacred Priesthood in the Sacred Heart Cathedral, Diocese of Richmond (USA) on 18th June.

Father Brian Capuano offered his Mass of Thanksgiving in S' Benedict's Church, Richmond (see adjacent photographs).

Please pray for Father Capuano and all newly-ordained priests.

Saint Benedict's Church Richmond VA (1928)

The ordinand asked for a chasuble in the Borromeon style. A Renaissance-foliage silk damask in ivory was chosen for the vestments, ornamented with a silk damask of burgundy and gold, outlined with a narrow galloon. The ornamentation is in the traditional Roman style of the TAU. The chasuble was fully lined in cherry-red cotton.

In addition, a cope, humeral veil and dalmatic were prepared to complement the chasuble. Made from the same fabrics, these are shewn below. The hood of the cope is also in the style of the 16th century, typically Roman in shape, but pre-dating the exaggerated dimensions found in copes of the later Baroque period.

Click on the images for an enlarged view.

Enquiries: stbede62@gmail.com

Affording costly vestments

2011-08-19T09:55:00.000+10:00

Good-quality vestments, especially if they are handmade and use silk fabrics, are quite costly. Indeed, they always have been. Once, I read on a website (I can't remember where it was), a strategy for being able to afford a vestment which seems too expensive. It may be useful for readers. It goes something like this...

Father had his heart set on a particular set of vestments, but didn't have the money to purchase them. The Parish had many commitments and could not justify making such a purchase. But the Parish did buy them and then they were put on display in the Church, with this sign:

These new vestments were recently purchased. When we have raised enough money to pay for them, they will be used at the Altar. Until then, they are only for display.

It didn't take too long for the money to be raised for the vestments to be used for Mass and more besides; in fact, enough for another set to be purchased! The Parish loves the vestments and loves to see Father wearing them for Mass.

Mass on the Feast of S' Lawrence

2011-08-10T22:13:00.000+10:00

I couldn't resist putting up this post about a Mass held this evening in Saint Patrick's Cathedral, Melbourne, on the Feast of Saint Lawrence. Thanks to Dr Chris Steward for the photographs. This Mass was celebrated at the magnificent Sacred Heart altar, one of the many remarkable features of this noble church, designed by the renowned Gothic Revival architect William Wardell. The Borromeon-style vestments used at this Mass had been made some years previously by the Studio and look rather well in the setting!

Click on the images for an enlarged view.

Prayers at the Foot of the Altar

Reading of the Gospel

At the Offertory

The Anniversary

2011-08-10T19:42:00.001+10:00

A special set of vestments were prepared by the Saint Bede Studio for the anniversary of the Ordination of Father Glen Tattersall of Caulfield North (Archdiocese of Melbourne). The vestments are shewn in the adjacent photographs.

The vestments were made from a rather unusual brocade of green silk. The usual "Y" orphrey was changed into a pallium shape of green dupion silk, outlined with a galloon.

Enquiries: stbede62@gmail.com

Click on the images for an enlarged view.

Photographs kindly taken and supplied by Dr Chris Steward of Melbourne.

Papal Mitres: part 2

2011-07-31T19:32:00.002+10:00

Amongst the many remarkable features of Benedict XVI's Pontificate is the rather singular distinction of having used more mitres as Pope as all of his predecessors of the last 200 hundred years put together! This is the second in a series of posts about the Papal mitres which I find pleasing, together with a description of them.

The mitres of Pope Benedict fall (almost) into two categories: those used during the tenure of Marini the First (Piero Marini) and those used during the tenure of Marini the Second (Guido Marini).

The second in our series, shewn above, is part of the Marini the First range and was worn at Vespers in the Basilica of Saint Paul-without-the Walls in January 2008. This mitre is a very inventive adaptation of the mediaeval mitre. A similar mitre was used by Pope John Paul II.

As we know, the most common form of ornamentation for the mitre, as it developed in Tradition, was for a decorative band to be run around the crown of the head. This band was called the circulus. Another band extended at right angles to the circulus, forming an upside-down "T". This vertical ornamentation was called the titulus. Often, the circulus and titulus were lavishly embroidered. During the mediaeval period, that area of the mitre on the left and the right of the titulus, which forms almost a triangular shape, came also to be decorated, often will geometrical medallions studded with jewels. For the purposes of our description, let us call these areas of the mitre quadrants.

Returning to the mitre of this post, it is made from a gold fabric and its circulus and titulus are formed from a beautifully-conceived cross-hatching of golden braids. This would have been sufficient to create a worthy mitre. But the designer of this mitre took a bold step and ornamented the quadrants of the mitre, not with embroidery and jewels, but with an applique of black and gold silk damask, carefully enhanced with further gold braiding. The shape and height of the mitre are very well proportioned, according to the manner of the early mediaeval period and well-suited to the stature of its wearer, Pope Benedict.

On that occasion, the Pope was given to wear a cope matching the mitre (adjacent photograph). This cope is made from a magnificent straw-coloured silk damask. Like the mitre, the cope's orphrey is formed from a cross-hatching of golden braids, broken up with squares of the same black and gold silk damask. The decoration is beautiful and striking. There is nothing about this Italian-made mitre and cope which makes it incongruous with the Baroque style of Catholic Rome.

Noteworthy, also, is the magnificent Morse, or clasp used to hold the cope together. Obviously a modern work, but beautifully conceived and ornamented. Unhappily, a clearer image was not available.

Vestment for the Time "Per Annum"

2011-07-22T21:54:00.000+10:00

The adjacent photograph shews a set of vestments completed for a Sydney priest in the Saint Martin style developed by the Saint Bede Studio. The chasuble is made from a forest green brocade and ornamented (simply with a contrasting brocade) in the Roman style. Unlike other examples of the Saint Martin chasuble, these vestments lack any additional ornamenting braids. The vestments are fully lined in a rust-red cotton.

Click on the photograph for an enlarged view.

Enquiries: stbede62@gmail.com

Re-enchantment of a Roman chasuble

2011-07-16T22:58:00.002+10:00


An old Roman chasuble (right) remade

Known derisively as the "fiddleback" or inaccurately as the "Roman". That well-known and abbreviated form of chasuble never makes an appearance on this Blog. Some of these "Roman" chasubles are of great beauty, made of exquisite damasks and often wonderfully embroidered. On the other hand, there are many which were crunched-out of the vestment-making businesses and are of no particular merit. The "Roman" chasuble really looks well only on men of smaller build, where its abbreviated length and width is not so noticeable.

In this post, we will look at such a chasuble, which had seen better days. Made in Italy in the 1940's from a tastefully embroidered red silk, its qualities were marred by an ugly gold lurex braid. Faced with a decision between "retiring" the vestment or trying somehow to salvage it, the owner opted for the latter.

After and before

The chasuble and its accessories were carefully taken to pieces and examined for what might be re-used. The results are shewn in the attached photographs. A misshapen and badly adorned chasuble was made into a new set of vestments in the Saint Philip Neri style. The original fabric was re-used to ornament the new silk vestments. In fact, the original fabric was used to ornament two new chasubles, the second of which can be seen here.

Searching for a word to describe such radical surgery, we lighted upon the phrase the "Re-enchantment" of a Roman chasuble.

Click on the images for an enlarged view.

Papal Mitres: part 1

2011-07-12T22:15:00.002+10:00

Amongst the many remarkable features of Benedict XVI's Pontificate is the rather singular distinction of having used more mitres as Pope as (probably) all of his predecessors put together over the last 200 hundred years! Most of his predecessors used two or three precious mitres at most (in addition to the cloth gold and simplex mitres). There are a number of websites which have a tally of the mitres used by Pope Benedict, so I won't be contributing to the statistics.

Instead, this is the first in a series of posts about the Papal mitres which I find pleasing, together with a description of them.

The first in the series, shewn adjacent, was presented to Pope Benedict on the occasion of his visit to the Abbey Monte Cassino a couple of years ago. In addition, a matching cope and chasuble were presented. These vestments and mitre are very much in the character of the style of vestments used in Italy in the 13th century.

Confining ourselves to the mitre, it is made from a white silk damask and its orphrey (properly called the circulus and titulus) is also formed from hand-embroidered gold silk. Quite unlike the baroque mitres, the ornament of such mitres is confined to orphrey. Here we find, in geometrical patterns, precious stones of differing sizes and colours, arranged in a restrained and tasteful manner. The shape and height of the mitre are very well proportioned, according to the manner of the early mediaeval period and well-suited to the stature of its wearer.

Admirable!

Click on the images for an enlarged view.

Priestly Ordinations 2011 - part 3

2011-07-02T14:11:00.001+10:00

The third in this series of Ordination vestments features a chasuble prepared for a young man who was ordained to the Sacred Priesthood in the Co-Cathedral of S' Thomas More, Diocese of Pensacola-Tallahassee (USA) on 4th June, along with two other men.

The ordinand asked for a chasuble in the Saint Martin design, but strictly in colours of white and gold. This design is extremely ample and is intended to be more contemporary in appearance, even though based in Catholic traditions.

A renaissance-style ivory damask was chosen for the chasuble, ornamented with a brocade of white and gold, outlined with a narrow galloon. The ornamentation is in the traditional Roman style of the TAU. The chasuble was fully lined in gold dupion silk.

Click on the image for an enlarged view.

Enquiries: stbede62@gmail.com

Priestly Ordinations 2011 part 2

2011-06-26T15:50:00.000+10:00

On 5th May, the Rev'd Damon Sypher FSSP was ordained to the Sacred Priesthood in Saint Mary's Cathedral, Sydney, by His Eminence, Cardinal Pell. The Mass was celebrated according to the 1962 Liturgical books. The adjacent photograph shews Father Sypher during the Rite of Ordination.

Father Sypher was ordained in a Saint Philip Neri style chasuble made by the Saint Bede Studio and presented to him by friends. The chasuble was made of silver and straw-coloured silk damask, ornamented with orphreys of burgundy and straw brocade according to the Roman style. The photograph below shews the rear of the chasuble.

A similar chasuble is illustrated here.

Please click on the photographs for an enlarged view.

Enquiries: stbede62@gmail.com

Priestly Ordinations 2011 part 1

2011-06-20T23:49:00.001+10:00

Over the last 2-3 months, the Studio has been busily engaged in making chasubles for ordinands to the Sacred Priesthood. At last we are in a position to post some photographs of the vestments that have been made.

Firstly, a set of vestments made for Father Matthew Hardesty of Kentucky, USA. The vestments are made from an ivory silk damask, fully lined in gold dupion silk. The orphrey was formed from a straw-coloured silk damask, alternating with fleur-de-lis emblems.

We are pleased to include a photograph of the vestments taken at the celebration of Father Hardesty's First Mass. Congratulations, Father.

Click on the images for an enlarged view.

Enquiries: stbede62@gmail.com

Patron Saint of the Studio

2011-05-27T11:18:00.000+10:00

Greetings to all readers of this Blog on this Feast of Saint Bede the Venerable, monk of Jarrow (UK) and first historian of the Church in England.

Read a little about the life and work of Saint Bede here.

And please say a prayer for God's Blessing on the work of the Studio.

Triple Tiara of Pope Benedict XVI

2011-05-26T01:10:00.000+10:00

At Wednesday's General Audience in the Piazza of Saint Peter's, Pope Benedict was presented with his very own Triple Tiara. Although small scale, it is an admirable tiara, perhaps reminiscent of the tiara of Pope John XXIII. Happily, it tends more to the shape and appearance of the mediaeval tiara than the baroque variety.

Read a bit more about the presentation at John Sonnen's blog.

Were the Pope to wear the tiara, I, for one, wouldn't feel scandalised (call me old-fashioned).

Click on the image for a larger view.

On Raising the chasuble at the Elevations

2011-05-25T10:21:00.000+10:00

In the celebration of the Extraordinary Form of the Roman Rite, the minister (deacon or altar server) is directed to raise the chasuble slightly in his left hand as the celebrant elevates the Sacred Host and then the Chalice. This direction is given in the Ritus Servandus VIII,8; the Caeremoniale Episcoporum II, viii and a decision of the Congregation of Sacred Rites no 3535.

What is the origin of this practice? It dates from that period when chasubles were voluminous and constrained the celebrant from raising his arms above his head. Lifting the lower right hand corner of the chasuble actually enables the celebrant a greater movement of the arms. Thus, the origin of this ceremonial action is purely practical. Much has been written about mystic and symbolic meanings as being the origin of this action, all of which is complete nonsense.

The ceremonial books direct that the raising of the chasuble be a very subtle action. It was never intended that the chasuble be raised half-way up the celebrant's back or - worse still - be held up by both hands of the minister, making the chasuble seem like some fantastical ecclesiastical sail. Most assuredly such exaggerated movements are distracting both to the celebrant and to the congregation.

If the chasuble is not very ample at all, there is even more reason for its raising at the Elevation to be a very modest action: just a couple of inches at most. Furthermore, this gesture only accompanies the actual Elevations, and not the celebrant's accompanying genuflections.

Attached is a beautiful photograph of a Low Mass celebrated at Prinknash Abbey (UK) in 1940, illustrating perfectly how it should be done.

A much-commented post on the New Liturgical Movement has caused me to re-post this article.

Ordination Season

2011-05-24T02:54:00.000+10:00

To regular visitors to this Blog, apologies for the paucity of postings lately. This year, the Season of Easter coincides with Ordinations in Australia and the USA and the Studio has been kept very busy helping Ordinands with vestments. That work continues.

In the meantime, a small diversion. The adjacent photograph was snapped by Dr Chris Steward in the split second when your correspondent was about to remove the mitre from the bishop's head. It looks as if a murder were about to take place...

The Mass was the Easter Vigil celebrated Pontifically in the Extraordinary Form by the Most Rev'd Basil Meeking (sometime-Bishop of Christchurch, New Zealand) in S' Aloysius' church, Caulfield North (Archdiocese of Melbourne). The mitre was made by the Studio and the vestments, based on the well-known vestments of S' Thomas Becket, were also designed some years ago by us.

A Rose by any other name, but Pink

2011-04-03T00:06:00.000+11:00

Twice a year, the Church breaks the tone of its penitential seasons by the use of rose-coloured vestments. Rose-coloured vestments were never commonplace and they still are not. Nevertheless, you will find various pronouncements these days (usually on websites) about what the real or authentic shade of rose is which is to be used for vestments.

Newsflash: there is no official shade of Rose designated by the Church, nor has there ever been. The reason for this is rather simple: only in the last century did the process of dyeing fabric become sufficiently sophisticated to ensure that much the same shade of a colour emerged from one batch of fabric dyeing to another.

Many different colours have been deemed by the Church as acceptable as liturgical Rose. Some of these are a salmon shade; some a silvery-pink, almost mushroom-colour; some close to what we would call Bishop's purple or fuchsia.

Another thing is certain: Bubblegum Pink is not Rose, nor has it been a traditional variation for use on these days. Whilst not intending to get into the argument as to whether the use of a such a vibrant pink is a fitting colour for a man to wear, Bubblegum Pink certainly manifests a lamentable lack of liturgical good taste.

At an old post on the Blog, The New Liturgical Movement, we find a number of interesting vestments in that shade of Rose commonly found in Italy in centuries past: a salmon colour. Go there and take a look. But don't be mistaken about that particular shade of Rose being universal: it was used in Italy, but probably not much elsewhere.

Adjacent are three pictures of other shades of Rose. One is a set of vestments worn by Pope Paul VI on Laetare Sunday, 1978 (photographs of L'Osservatore Romano). The vestment is made from dupion silk of a very subdued mushroom-pink, with overtones of silver. Ornamenting it is a column-orphrey almost fuchsia in colour. Sadly, these vestments have not been seen in Papal Masses of recent years: now lamentable sets of bright pink vestments, of rather unimaginative fabric and design, are used instead (not to be looked at before breakfast).

The other picture is the cope made by the Saint Bede Studio for the Latin Mass Apostolate in Melbourne. It has overtones of subdued red in it, yet decidedly unlike the colours used for Liturgical Red. This cope is ornamented with a brocade of forest green, and a braid of Gothic foliage ornament.

Another set of Rose vestments made last year by the Studio for the Cathedral of Atlanta, Georgia can be seen here.

Enquiries: stbede62@gmail.com

Vestments for Lent: IV

2011-03-30T11:28:00.000+11:00

A priest from Trenton, New Jersey (USA) commissioned the Saint Bede Studio to prepare a Solemn Mass set for the season of Lent, comprising several chasubles and dalmatics. The principal chasuble was prepared in that style referred to as semi-conical: a modified cut of the ancient shape of the chasuble. The photograph above shews the particular way in which a conical or semi-conical chasuble folds up from the lower edge of the vestment when the arms are raised: a very beautiful effect.

These vestments were made from a Roman purple brocade, ornamented with another brocade in silver and black and outlined with a narrow galloon. To increase the sombre visual effect, a chevron in black silk was added to the chasuble.

One of the dalmatics is also shewn, ornamented more simply, but with the same scheme.

Enquiries: stbede62@gmail.com

Click on the images for an enlarged view.

Saint Andrew's Abbey-Church, Bruges II

2011-03-27T12:44:00.003+11:00

Photograph: Dirk Vde 2007

Well, here it is. The Abbey-Church (subject of a previous post) is still intact and more glorious than I had imagined. Thank you to several very kind readers who wrote to me about the Abbey.

A more detailed description of the Church, with photographs, will be the subject of further posts.

Click on the image for an enlarged view.

Please note: This copyrighted image may not be reproduced in any circumstances.

Vestments for Lent: III

2011-03-25T23:09:00.004+11:00

This vestment (and a red one of similar design, which will be the subject of another post) was made for the use of a Parish in the Archdiocese of Melbourne. It is in the Saint Philip Neri style now familiar to readers of this Blog.

The vestments are made of Roman purple dupion silk and ornamented with a silk brocade featuring the ChiRo emblem. Braids in burgundy and straw colour outline the orphrey according to the Roman style.

To subdue the appearance of the chasuble, a dark coloured lining was employed: wine-red.

Click on the image for an enlarged view.

Enquiries: stbede62@gmail.com

Vestment for Lent: II

2011-03-15T00:16:00.001+11:00

The vestments pictured adjacent, commissioned by a priest in the United States, is to a design of the Saint Bede Studio titled Vezelay. It is loosely based on the style and ornament of vestments found throughout the early mediaeval period in Northern Europe and England.

The priest wished to have a Lenten vestment of a dark-coloured fabric. These vestments are made from a Indigo-violet English brocade and lined in crimson red taffeta.

Click on the image for a larger view.

Enquiries: stbede62@gmail.com

As Lent Begins

2011-03-09T11:03:00.002+11:00

The Saint Bede Studio recently completed the vestments shewn in the adjacent photograph for a priest resident at the Pontifical North American College, Rome. This chasuble is in the style known now as Saint Philip Neri, common in the 16th century, although less ample than the measurements set down by S' Charles Borromeo.

Although there are many different shades used for Lenten vestments (none of which has a claim to being the correct colour), nevertheless, this particular shade of violet is closer to what was used during the mediaeval period and through until the 19th century. It is a subdued colour, but not dark, closer to the shade of the flowers Violets.

Instead of the ubiquitous treatment of gold ornament, these vestments are ornamented with galloons of a silver-grey and are lined in the same colour. The vestments are ornamented in the Roman manner.

Click on the image for an enlarged view.

Enquiries: stbede62@gmail.com

Vestments for Masses of the Dead

2011-03-04T23:07:00.001+11:00

In the adjacent photograph is pictured a newly-completed set of vestments for a priest in Louisiana USA. The Absolve vestments, based on the Borromeon form, are a design of the Saint Bede Studio intended for Masses of the Dead. The vestments are made from dupion silk and lined with dupion silk of a subdued olive colour.

Enquiries: stbede62@gmail.com

Click on the image for an enlarged view.

Suscipe, Sancta Trinitas

2011-03-02T13:19:00.000+11:00

One of the prayers which didn't survive the Missale Romanum final cut in 1970 was this one:

Accept, holy Trinity, this offering which we make to you in remembrance of the passion, resurrection and ascension of our Lord Jesus Christ, and in honour of blessed Mary ever Virgin, of blessed John the Baptist, of the holy Apostles Peter and Paul, of those whose relics rest here, and of all the Saints. To them may it bring honour, and to us salvation; and may they, whose memory we keep on earth, be pleased to intercede for us in heaven. Through the same Christ our Lord. Amen.

This beautiful prayer, intended to be recited quietly after the washing of the hands during the Preparation of Gifts or Offertory, is a summary of the things a Catholic should keep in mind when praying the Mass. It reminds us firstly that all our worship is offered to the One God, who is a Trinity of Persons: Father, Son and Holy Spirit. Secondly, in reflecting the Anamnesis after the consecration, the prayer insists on the unity of Christ’s Paschal Mystery that is re-presented for us in sacramental form: His Passion, Resurrection and Ascension. Finally, it asserts that a secondary end of the Mass is the honour of the Saints (that is, the victory of Christ in His members is being praised), and accordingly it begs their intercession for us on Earth.

One can only wonder at the mentality which saw fit to excise this prayer from the Mass. If there was one prayer that ought to have been retained at the Offertory, this was the one. After washing his hands and before inviting the people to prayer (Pray, brethren), the celebrant bowed before the altar and quietly prayed the Suscipe Sancta Trinitas.

If you are a priest reading this, you might consider praying this prayer at the Offertory when you offer Mass. If you pray it according to the rubrics of the 1962 Missale Romanum, (namely bowed and silently) no one in the pews will be disturbed by hearing a prayer recited which is not contained in the New Order of Mass. Be daring.

How beautiful it would be if once again this prayer were recited at every Mass! The Angels would rejoice.

The Latin:

Suscipe, sancta Trinitas, hanc oblationem, quam tibi offerimus ob memoriam passionis, resurrectionis, et ascensionis Jesu Christi Domini nostri: et in honorem beatae Mariae semper Virginis et beati Joannis Baptistae, et sanctorum Apostolorum Petri et Pauli, et istorum, et omnium Sanctorum: ut illis proficiat ad honorem, nobis autem ad salutem: et illi pro nobis intercedere dignentur in caelis, quorum memoriam agimus in terris. Per eundem Christum Dominum nostrum. Amen.

Saint Andrew's Abbey Church, Bruges

2011-03-01T20:47:00.003+11:00

This beautiful photograph was taken in the Abbey Church of Saint Andrew in Bruges, Belgium around 1960. A Benedictine monk is pictured at the beginning of Mass, attended by two servers. The monastic practice of having servers vested in amice, alb and cincture is in evidence here.

The altar rests beneath a magnificent civory or ciborium, the vault of which is covered with golden mosaic tiles.

The lighting of the apse is dim, which does not allow us to completely see the happy blend of mosaic and marblework, nor the images of the saints at the upper level.

Equally magnificent is the cosmati-work floor of the sanctuary.

Is this Abbey Church still in use? I don't know. If someone reading this does know, I would be very pleased if you would contact me.

Click on the photograph for an enlarged view.

UPDATE: A number of kind readers have written to me, some with photographs. The good news is that the Abbey-Church is alive and well and living in Bruges.

Contact: stbede62@gmail.com

Saint Catherine of Siena

2011-03-01T15:21:00.000+11:00

On the website of the J Paul Getty Museum (Los Angeles) we find a description of this beautiful work of art by Domenico Beccafumi painted in the second decade of the 16th century:

This small panel depicts an episode from the life of the Dominican tertiary and mystic, Saint Catherine of Siena. Upon arriving at church late one day because of her difficulty walking, Saint Catherine was dissuaded by her companions from taking communion because they knew her ensuing ecstasy would last for several hours. She concurred but prayed for God's help in receiving the Eucharist. Miraculously, an angel took a piece of the consecrated host and gave it to the saint. Celebrating Mass at a side altar, her confessor looked around with concern for the missing piece of the host. Neither he nor the others could see the miracle, so their expressions reflect bewilderment.

This panel and its companion, Saint Catherine of Siena Receiving the Stigmata, were probably made for the predella of an altarpiece dedicated to the saint.

We find the celebrant vested in a flowing linen alb ornamented with apparels to the skirt and cuffs. He is wearing a cloth gold chasuble of very sparing ornament. The shape of the chasuble is typical of this period, according to the specifications of S' Charles Borromeo, being very long (and pointed) but reaching only just beyond the elbows.

Click on the image for an enlarged view.

Options, Footnotes and altogether too much talking

2011-03-01T14:51:00.002+11:00

I suppose regular readers of this Blog would have formed the view that Michael Sternbeck is "Old Mass". Quite true. Over many years, I have read widely on the history of the Sacred Liturgy, with a critical eye for the difference between propaganda and scholarship. I continue to try to do this. The findings of scholarly research can sometimes prove very challenging to accepted theories about the nature of the Liturgy in the Early Church. Take, for example, the more recent debunking of claims made in the 1960's and 1970's about the antiquity of Mass versus populum. Or, the disputed authenticity of the so-called Canon of Hippolytus, now partly used as the Second Eucharist Prayer in the New Order of Mass.

By most measures, the New Mass has not been the success that propagandists have tried to persuade us of. Liturgical scholars and others, including Josef Ratzinger, put this down to its being the construct of a committee of scholars and liturgists, rather than an organic development from the Church's Tradition. You've read all this type of thing before, so I need not reiterate it here.

There is too much talking in the New Mass, with not enough space for quiet prayer. Too many options, leading priests to believe that they can create their own options. Despite the propaganda put about from the 1970's onward that the Old Mass was centred on the Priest (to the exclusion of the "Assembly"), it is the New Mass which places the priest in the position of celebrant-entertainer or emcee to a captive audience. Did Voltaire have this phenomenon in mind when he wrote: "God is a comedian playing to an audience which is afraid to laugh"? All sorts of frightfulness can and has resulted from this change in ritualistic emphasis. Most celebrants, however, don't seek to be entertainers. Then there are some who know no better and have been taught to offer Mass in this manner, for all sorts of reasons. It's not all bad, of course.

Many Ecclesiastical careers have been based on the New Mass being an unrivalled success-story. The truth of the matter is otherwise. My generation and the generation older than me (who implemented the Changes) will all have to die out before a substantial renewal of the Liturgy can take place. What we now name the New Order of Mass or Ordinary Form of the Roman Rite will, I would say, be gradually changed so it resembles more and more the so-called Interim Rite of 1965, partly Latin, partly vernacular and whose rituals still largely resembled those of the Extraordinary Form. This is the actual form of the Mass which the Council Fathers envisaged, the Mass of Vatican II.

One thing, however, is clear: the Extraordinary Form (the Old Mass, the Missal of 1962), should be left untouched. This Rite is not perfect. I don't buy into the argument that it was codified by the Holy Spirit himself, or other extreme claims put around about it. Its rituals should be left just as they are, as a counterpoint to the New Order. Perhaps this is why Pope Benedict has asked that the Old Mass be readily available, preferably in every Parish (Summorum Pontificum). Perhaps he wishes us to recognise that not everyone prays in the same way and alternatives should be available. Liberality please.

This opinion-piece, inspired by the writings of Father Hunwicke, has been prepared in response to an article I received from a well-meaning priest who, somewhat sadly, believes that the Extraordinary Form can be improved by incorporating more elements of the New Order of Mass into it. This grotesque concept fits perfectly the scriptural maxim, warning of the dangers of pouring New wine into Old wineskins.

As Lent Approaches

2011-02-26T12:01:00.002+11:00

This is the first of a number of posts featuring vestments recently made for the Season of Lent. The chasuble shewn on the left is a basic version of the Borromeon form (shape, dimensions and ornament). This chasuble, fully lined, is made from Roman purple dupion silk, ornamented in silver and black. It is extremely lightweight.

A priest from a New Jersey diocese, for whom these vestments were made, very kindly wrote this:

I had viewed the Saint Bede Studio website on several occasions and had been interested in their vestments. Then, I spoke to one of our newly-ordained priests from Rome who was able to show me two of the vestments from Saint Bede which assured me of the quality of the product and the experience. Whatever hesitation I might have had about ordering vestments long distance was assuaged, not only by the high quality of my new Lenten vestments, but also by the good experience of engaging in their design, size, and material. I found dealing with Michael Sternbeck and Saint Bede Studio by e-mail a pleasant and educational experience, and I have been happy to share my new vestments with other priests here in my diocese and in the seminary which I teach.

Click on the image for an enlarged view.

Enquiries: stbede62@gmail.com

E-mail problems

2011-02-25T17:21:00.000+11:00

Dear Readers:

There have been recent problems brought to my attention about the e-mail account attached to this Blog. If you have written to me in the last few days and not received a reply, it is likely that your message was not received. So please send it to me again.

As far as I am aware, my account has not been the origin of what is termed TROJAN HORSES. If, however, a reader should received an e-mail from me which doesn't relate to the business of the Saint Bede Studio, please delete it without opening.

Nasty things can happen online, which a splash of Holy Water can't quite fix.

Timeo Danaos et dona ferentes.

Mutual Enrichment

2011-02-14T23:16:00.002+11:00

Recently, Fr Finigan, at his well-known blog The Hermeneutic of Continuity posted an article about mutual enrichment between the two forms - Ordinary and Extraordinary - of the Roman Rite. It is a well thought-out article, prompted by the point made by Pope Benedict in Summorum Pontificum. I would recommend your reading Father's article.

Perhaps I may be allowed my two-pence worth about this subject? I choose to do so, briefly, by taking the angle of mutually enriching the aesthetics of the two Forms for, although the external appearances are of a lesser degree of importance than the prayers and rituals of the Mass, these external forms do, nevertheless, make a strong impression upon those who look at them, namely the congregation.

For the purposes of this discussion, I am considering the scenario where both Forms of the Roman Rite are offered in the same Church or Parish, using the same sanctuary or altar and by the same priest and community.

Le Barroux: Contemporary vestments intended for the EF.

Whilst it is true that there are in use worldwide tasteful vestments and tasteless vestments, there is no stipulation that a particular style of vestments is appropriate to one Form of the Roman Rite more than another. Readers of blogs might be excused for thinking this is not the case: they might be forgiven for thinking that the only appropriate style of vestments for the Extraordinary Form is the Baroque chasuble (sometimes mistakenly referred to as the "Roman" chasuble, or, more derisively, the fiddleback). They might be forgiven this, because every day we see photographs appear on numerous Blogs of celebrations of the Extraordinary Form with Baroque vestments. Sometimes, we even see Extraordinary Form Masses being celebrated with brand new Baroque vestments. Well, the equation of Baroque vestments with Catholic Tradition simply is a non-sequitur.

When the approach is taken that Baroque vestments must be used for the Extraordinary Form, we risk moving away from Tradition into the Re-Creation of bygone eras. Tradition isn't about that, nor is the Hermeneutic of Continuity, which we hear so much about these days. This is a very shallow interpretation of Tradition and Continuity. Read more about that here.

In short, one obvious sort of mutual enrichment of the two Forms of the Roman Rite is when people observe that the same styles of vestments are appropriate for both and there is no required disjunct between the two.

Another is the manner in which altars are set up. Leaving aside the question of the Orientation of the Extraordinary Form, an altar may be set up for Low Mass in the Extraordinary Form simply with two candlesticks and a Crucifix, resting on the mensa of the altar. Tragically, some have now implemented the practice that, for the celebration of the Extraordinary Form, a timber shelf is placed on an altar, sometimes with a faux-tabernacle built into it, in order to make the altar seem more like "a Traditional High altar". This frightful practice is not only nonsense, it is also unliturgical. Is it not disrespectful of the dignity of a consecrated altar to place portable shelves on it?

Processional Cross as the altar Cross.

Vest the altar in worthy antependia (altar frontals) and with cloths of white linen. If you find altar cloths (the cloths that cover the mensa of the altar) in your church which are made in the liturgical colours (another frightful practice) instead of pure white, dispose of these with a just penalty.

You don't have to place six candlesticks on your altar for the Ordinary or Extraordinary Form. It is fashionable to do this now, adopting what people are referring to as the Benedictine Arrangement. Two good-sized, worthy candlesticks will do, particularly if the altar is a small one. If you do use a set of six candlesticks, make sure they are a matching set and proportionate to the altar.

Here is another suggestion: if you have a free-standing altar, locate the Processional Cross in the very centre of the altar (at the front of the altar for the Ordinary Form and at the back of the altar for the Extraordinary Form). Anciently, the Processional Cross was used this way before there was ever a thought of placing a Cross on the altar. A processional Cross so located can serve for both the Extraordinary and Ordinary Forms.

Secondly, then, ornament the altar for both Forms of the Roman Rite in much the same manner, even if the Orientation of the celebration is different.

Priestly crossing of the stole.

Thirdly, for priest readers: start crossing your stole when you vest for Mass in the Ordinary Form. It might be immediately objected that this is forbidden by the GIRM (a debatable point), but if you crossed your stole, would anyone mind that much? It is an ancient practice and it reinforces the distinction between the threefold Orders of deacon, priest and bishop. Give it a try.

The Saint Giles chasuble

2011-02-12T11:16:00.001+11:00

Pictured at left is one of the vestments which the Saint Bede Studio makes from time to time, called The Saint Giles chasuble. This chasuble is based on simpler designs of the 19th century English architect and designer of all things ecclesiastical, AWN Pugin (1812-1852).

The vestments, which can be made from either brocade or silk damask, are available in the liturgical colours of white, red, green (pictured), black and violet and are ornamented with braids designed by and especially made for the Studio.

Enquiries: stbede62@gmail.com

Click on the image for an enlarged view.

Yet more of the Borromeon form

2011-01-30T11:56:00.002+11:00

A priest resident in Illinois, USA commissioned a set of vestments from the Studio in the Borromeon style. The results are shewn in the adjacent photograph. At the moment, there is much interest in the Borromeon form, of chasuble, which is somewhat ample in cut and ornamented in the Roman style.

These vestments are made from a straw-coloured silk damask, ornamented with an ecclesiastical brocade in burgundy and old gold and outlined with a narrow galloon.

A word on photographs appearing on this website. These images are intended to illustrate the vestments made by the Studio: they are specially "posed". They are not intended to precisely reproduce liturgical actions, or the exact manner in which a priest ought to vest or stand. Wherever possible, the photographs illustrate the correct proportions of the vestment to its owner. Except where acknowledged, photographs on this website are protected by copyright and may not be reproduced in any form, especially on other blogs or websites, except with prior permission from the Saint Bede Studio.

Enquiries: stbede62@gmail.com

Click on the image for an enlarged view.

The Anniversary

2011-01-17T10:25:00.001+11:00

To all customers and friends of the Saint Bede Studio and those who simply read this blog from time to time, Greetings for 2011. Having benefitted from a holiday immersed in Sacred Liturgy and Organ Music, work here at the Studio has resumed in earnest.

I ask your prayers for the peoples of Brazil, Sri Lanka and eastern Australia who have been tragically affected by devastating floods in the past two weeks.

This year marks the 10th year since the Saint Bede Studio commenced operations and perhaps this is an opportunity to describe a little of what goes on here.

At work in 2008 on the chasuble for Benedict XVI

The major focus of the work here is the design and making of vestments. Much consideration goes into all the designs, based on years of research into the history of sacred vestments and furnishings. The vestment-work of the Studio is intended to be a re-interpretation of ancient and mediaeval designs for modern use, so that always the end product can be seen as a continuity with the breadth of Sacred Tradition, not as innovation.

The design of church furnishings, renovations and redecorations is also work that is undertaken by the Studio from time to time, again, based on years of study into the architectural and ornamental styles.

Having been fortunate enough to make a good reputation for the Studio's work internationally, I am anxious that people understand the very modest scale of operations here. Although based in the provincial city of Newcastle in Australia, most of my work is done for overseas customers. I work from my own home, without the benefit of a special sewing room, but using high-quality machines. One room of my home is given over to the storage of fabrics, making interesting viewing for those visiting me. I receive part-time help from a sewing assistant, a secretary and two cats, which allows me to keep the work ticking over. Keeping abreast of the work is a daily struggle, but thanks be to God for every new commission that appears in my e-mail box.

Say a prayer, please, that God will continue to bless this work; and thank you, if you are already doing so.

Christmas Greetings

2010-12-25T00:01:00.003+11:00

To all friends, customers and readers of this Blog, my sincere wishes for a Blessed Christmas.

Borromeon Form arrives in New Zealand

2010-12-20T18:10:00.000+11:00

Recently I had the pleasure of meeting a young priest from New Zealand and shewing him those styles of chasuble which have become known as the S' Philip Neri and Borromeon forms. These are interpretations by the Saint Bede Studio of chasubles used in the 16th century, based on works of art and surviving chasubles from the period.

The young priest was quite enthusiastic about these styles, not least so because of their being so convenient to wear. Adjacent is a photograph of the Borromeon chasuble chosen by the priest, which he now uses in his parish in New Zealand.

We can't claim that it is the first chasuble of the revived Borromeon form in New Zealand, but it is certainly amongst the first, "for nothing is impossible to God".

Enquiries: stbede62@gmail.com

Click on the image for an enlarged view.

A modern interpretation of the ancient chasuble

2010-12-20T01:02:00.000+11:00

Shewn in the adjacent photograph is the Saint Bede Studio's alternative to the contemporary chasuble. This vestment, which we call The Saint Martin chasuble is quite long and wide, reaching beyond the wrists of the wearer. In developing this design, the Studio wished to present a more modern "feel" of chasuble but with the ancient decoration of the Tau, used in Rome for more than a millenium.

These vestments, prepared for an Australian priest presently studying in Rome, are made from dupion silk and ornamented with an ecclesiatical brocade in wine-red and gold. The vestments are fully lined, yet not unduly heavy.

Enquiries: stbede62@gmail.com

Click on the image for an enlarged view.

Rosa Mystica

2010-12-09T11:53:00.002+11:00

A priest resident in Germany, commissioned the Studio to make a vestment for use on Gaudete Sunday. The Rosa Mystica chasuble, shewn adjacent, will be used in the venerable Cathedral Parish of Frankfurt-am-Main. The chasuble is made from a damask, ornamented with a Gothic foliage braid, and lined in grey cotton.

Click on the image for an enlarged view.

Enquiries: stbede62@gmail.com

On the Immaculate Conception BVM

2010-12-06T15:13:00.001+11:00

A young priest in the United States commissioned the Studio to make a set of vestments in the "Borromeon" form, to be used for feasts of the Blessed Virgin. The result is shewn adjacent. These vestments are made from a white brocade which features a stylised fleur-de-lis in the form of a Cross. The ornament is formed from a blue and silver damask, outlined with a silver-coloured narrow galloon. The chasuble is lined in peacock-blue dupion silk.

The vestments will be used for the first time on the Solemnity of the Immaculate Conception. Our priest-customer, for whom we had made vestments previously, contacted us about this vestment:

I would like to take a moment to thank Michael for the truly amazing craftsmanship which goes into each of his vestments. I am currently in the process of trying to reinvigorate the Liturgy at my Parish, to bring back that sense of beauty and awe which many Catholics have unfortunately lost even when they stand in the presence of Jesus Christ Himself. Michael's vestments have added immensely to this undertaking. Comments on these pieces of liturgical art have been completely unexpected, with one parishioner actually stating that seeing the priest in such beautiful vestments allowed them for the first time to have an understanding of priest "in persona Christi" as Christ the King. This particular set of BVM vestments is truly resplendent. It was my honor to celebrate the Sacred Mass in them in honor of Mary our Mother. Make no mistake, beautiful vestments do not make the Mass! Nor should they just be done for "show" or "appearance." However, in my experience they benefit the People of God and allow them to better understand that they stand with the angels and Saints worshipping God every time they pray the Holy Mass.

Click on the picture for an enlarged view.

Enquiries: stbede62@gmail.com

What colour vestments should be worn during Advent?

2010-12-05T07:13:00.001+11:00

Instead, always most interesting, an historic work of art to illustrate the practice of our forebears. This work (adjacent) was painted by an artist known as the Master of Osservanza in the year 1440 and depicts a Low Mass being offered at a side chapel in the Siena Cathedral (Italy).

Some observations. The chasuble being worn by the celebrant is violet: in other words, much the same colour as the flower "violets". It is a blue-ish colour, not purple and it is not too dark either. The chasuble is the full conical shape and is ornamented with a simple column-orphrey of dark fabric (possibly even black). Most likely, the front of the chasuble would have been decorated with the familiar "tau". The celebrant is wearing decorative apparels on his alb and amice, which match the colour of the chasuble's ornament. That is a very typical practice of the Mediaeval period. Note, too, the very full folds of the alb.

We see, also, that the boy assisting the celebrant is wearing a full-length surplice, according to the style typically found in Renaissance Italy. Those who claim that such surplices are "Church of England" practice should note this well.

Lastly, the altar itself. It is clothed in a dark antependium or altar frontal, ornamented with scarlet red. On the altar is a Crucifix and a single candle. Although it may seem peculiar that there is but a single candle instead of a pair, it might be remarked that not until the 16th century was it a usual practice to have a pair of candlesticks on an altar.

Click on the image for an enlarged view.

The ancient form of chasuble

2010-11-05T20:36:00.001+11:00

Adjacent is a photograph of a conical chasuble recently completed by the Saint Bede Studio for a priest in the United States. This chasuble is made from dupion silk and is ornamented with a very simple form of the "tau" Cross. It is fully lined.

For readers who may be unfamiliar with this style, the shape of a conical chasuble is very similar to that of a bell. Consequently, in order for the wearer to use his arms, the conical chasuble must be pulled up at the sides and the fabric allowed to rest in the small of the arms. When this happens, the vestment folds upward from the bottom in a manner quite distinctive. Many illustrations, statues and monuments from late Antiquity to the Middle Ages regularly show vestments with precisely these folds.

The conical chasuble is the most ancient form of Mass vestment, dating back to the earliest days of Christianity. It continued to be the usual form for the chasuble until the late Middle Ages, when various modifications to the shape began to take place.

For a history of the chasuble, go here.

A conical chasuble is not for celebrants who like to wave their arms around a lot, but it is quite manageable if the arms always remain extended or joined. Unlike the more commonly-found chasubles, the conical chasuble must be tailored to the shape of the wearer's shoulders, otherwise it fits very ill.

Click on the image for an enlarged view.

Enquiries: stbede62@gmail.com

Feast of S' Charles Borromeo

2010-11-04T20:24:00.001+11:00

Coinciding with the Feast of S' Charles Borromeo (4th November), the Studio has completed a new set of vestments in the Borromeon style. The vestments are made from crimson-red silk damask, ornamented with a brocade of dark burgundy and gold and outlined with a galloon in the Roman style.

Please click on the image for an enlarged view.

Enquiries: stbede62@gmail.com

Redecoration of a Melbourne church

2010-10-26T20:59:00.027+11:00

Recently we learned of the appointment of Father Anthony Denton as Rector of the new Domus Australiae in Rome. Father Denton, a Friend of the Saint Bede Studio, is a priest of the Archdiocese of Melbourne and is undertaking doctoral studies in Rome.

Before commencing his studies, Father Denton had been Parish Priest of East Thornbury (Archdiocese of Melbourne) and had approached the Studio in January 2009 to design some modest improvements to the aesthetics and liturgical arrangements of the Parish Church, within the constraints of a very small budget.

Before

After

Built in the 1960's, the East Thornbury church cannot be said to embrace any particular architectural style. The building is rectangular, wide, the ceiling is rather low; the interior walls partly rendered and painted, partly exposed brick. The sanctuary is part of the main structure, rather than a separate space, although well-elevated on steps. Visually, the principal difficulty was that the sanctuary appeared a small and ill-defined area within a much larger space and not the focal point it might be. The original timber High altar had been dismantled, but its components re-used.

The following is a list of the changes that were recommended and carried out in the redecoration:

Reconfiguration of reredos
A new treatment of the reredos was crucial to the success of the work to enhance the church visually. A brick reredos, painted a subdued yellow, was located in a slightly-recessed wall. The recessed wall was painted anew in a burgundy colour, whilst the reredos was changed from yellow to an ivory colour; this ivory colour was also used for the repainting of the sanctuary walls. Flanking the recessed wall, decorative work was carried out along the full height of the sanctuary wall, and framed by a new structure of timber. This work effectively expanded the width of the reredos and made it appear more three-dimensional. A timber panelwork dado - a remnant of the removed High altar - was modified, reducing its ungainly width to correspond to the width of the altar. Lastly, a peculiar arrangement whereby the tabernacle was embedded into the brick reredos at the foot of the prominent Crucifix was changed by lowering the tabernacle to be contiguous with the panelwork.

Creation of a predella and re-siting of altar
A partial reinstatement of the High altar timber predella (altar step) took place on which the altar was placed. Carpet was removed from this section of the sanctuary floor and parquetry was installed. The altar was re-sited to be directly beneath the tester or canopy which was part of the original High altar arrangements. This allowed the altar to be illuminated by lights in the canopy.

Repainting of sanctuary walls
A feature wall running the full-length of the building was of untreated brick. In association with the installation of timber posts to demark the sanctuary visually from the nave, the sanctuary section of that feature wall was painted ivory-white, along with the adjacent sanctuary walls.

Summary
In making recommendations for the redecoration of Holy Spirit Church, Thornbury East, the Saint Bede Studio made no attempt to impose a pseudo-Classical or pseudo-Gothic makeover. Instead, a simple treatment which enhanced the liturgical appointments of the building was successfully carried out. The two photographs above, shewing before and after, illustrate everything described above.

Click on each photograph for an enlarged view.

The "Borromeon" style of chasuble

2010-10-25T23:22:00.003+11:00

Readers of this blog will be familiar with the directions set down by S' Charles Borromeo in the late 16th century for the seemly dimensions of the chasuble.

The Saint Bede Studio has been commissioned by a young priest of the Archdiocese of New York USA to make a Solemn Mass set in the "Borromeon" style. The attached photograph shews the completed chasuble, made from a silk damask of silver and straw colour and ornamented with a silk damask of rose and old gold. The photograph does not nearly convey the beauty of these fabrics. The chasuble is quite long and reaches almost to the wrist, as S' Charles directed. The typical Roman arrangement of ornament for the chasuble was used for this vestment.

Enquiries: stbede62@gmail.com

Click on the picture for a larger view.

The S' Philip Neri chasuble: for the Ordinary & Extraordinary Forms

2010-10-21T15:15:00.004+11:00

It is not so often that I have an opportunity to present photographs of one of my chasubles being used, for the sacred purpose that was intended, as opposed to being "modelled". I am pleased to attach some photographs taken today at S' Aloysius' Church, Caulfield North (Archdiocese of Melbourne). They depict Fr Gerard Boyce, a visitor from the Diocese of Hamilton (New Zealand) on the occasion of his first offering Mass according to the Extraordinary Form. Assisting him is the Rector of the church, Father Glen Tattersall.

The vestments being used by Father Boyce belong to the Caulfield church, and were made by the Saint Bede Studio in a very simple variant on the "S' Philip Neri" style, for the convenience of a priest resident in the Parish. The vestments are quite lightweight, although fully-lined.

Click on each image for an enlarged view.

Enquiries: stbede62@gmail.com

Photography by Dr Chris Steward.

A Moment of Great Joy

2010-10-17T00:56:00.000+11:00

Today, Australia will receive her first saint. On Sunday evening (Australian time), Pope Benedict will canonise Mother Mary of the Cross (MacKillop) along with five others of the Blessed.

This is a day of immense pride for the Australian Catholic Church. We look to Mother Mary of the Cross at a time when the Church in Australia falters amidst secularism and atheism.

Read about the life of Mother Mary of the Cross here.

Saint Mary of the Cross, pray for us!

The Lion and the Cardinal

2010-09-28T00:25:00.000+10:00

I was very honoured to be asked by the US-based Catholic artist, Daniel Mitsui, to be interviewed for his well-known website The Lion and the Cardinal.

The interview can be read here.

Vestments for the Season "Per Annum"

2010-09-25T22:33:00.001+10:00

Father Mitchell Beachey of Quebec, Canada, a returning customer, commissioned the Studio to prepare a set of green vestments for the Season Per Annum. Father Beachey chose to have the set prepared in the "Philip Neri" style. The vestments were made of a green damask, ornamented in the Roman style with a narrow braid forming the outline of the orphrey.

Enquiries: stbede62@gmail.com

Click on the picture for an enlarged view.

Conical vestments

2010-09-23T14:44:00.003+10:00

Recently, the Saint Bede Studio completed a conical chasuble for a priest at the Pontifical North American College. Made from a green and black brocade, the chasuble is fully-lined in red cotton and ornamented with Puginesque braids.

Enquiries: stbede62@gmail.com

Click on the picture for a larger view.

Puginesque vestments in Wallsend

2010-08-14T09:10:00.006+10:00

This post features a chasuble and cope set, with matching antependium, which the Saint Bede Studio has made for the use of the Latin Mass Community in Newcastle (Australia). These vestments have already been used for a Missa Cantata at Saint Patrick's church Wallsend, which has been featured on The New Liturgical Movement and The Hermeneutic of Continuity.

Some photographs are included from the Mass, in addition to a studio image of the cope. A forest green damask was used for these vestments, ornamented with Puginesque braids in red and gold.

Enquiries: stbede62@gmail.com

Click on the images for an enlarged view.

Sundays after Pentecost - part II

2010-08-02T14:42:00.006+10:00

A young priest from Louisiana (USA) commissioned the Saint Bede Studio to make a green chasuble in the Philip Neri style. The completed chasuble is pictured opposite.

These vestments are made from a magnificent damask of green and gold, ornamented simply with an outlining braid, and lined in green cotton.

Click on the picture for an enlarged view.

Enquiries: stbede62@gmail.com

Ordination 2010 - Part V

2010-07-26T09:49:00.003+10:00

The last in this small series of Ordination chasubles is a set of vestments prepared for Father Daniel O'Mullane from the United States who studied for the Sacred Priesthood at the Pontifical North American College, Rome.

Father O'Mullane asked for a Maria Regina chasuble, which has been featured on this blog several times before. Having had two chasubles prepared, Father O'Mullane wrote about his experiences with the Saint Bede Studio:

Working with the Saint Bede Studio has been a truly edifying experience. I am so happy to have found someone in Michael who cares deeply about the Sacred Liturgy, has a discerning eye for beauty in vestments and vesture, and can work well with me to bring my ideas to fruition. Not only are these the finest vestments I have ever worn, they are the finest I have seen in person. The fabrics are top quality, and the workmanship is perfect down to the minutest details. I have thoroughly enjoyed this prayerful process, and I look forward to our next project!

Click on the image for an enlarged view.

Enquiries: stbede62@gmail.com

Ordinations 2010 - part IV

2010-07-11T09:11:00.004+10:00

The fourth in this small series of Ordination chasubles was prepared for Father Daniel O'Mullane from the United States who studied for the Sacred Priesthood at the Pontifical North American College, Rome.

The ordinand asked for a chasuble which corresponded to the specifications laid down in the 16th century by S' Charles Borromeo.

A magnificent silk damask in grey and straw was chosen for the chasuble, ornamented with a silk damask of rose-red and gold, outlined with a narrow galloon. The ornamentation is in the traditional Roman style of the TAU. The chasuble was fully lined.

The photograph below was taken by Jeff Pikor at the First Mass of Father O'Mullane.

Click on the images for an enlarged view.

Ordinations - part III

2010-06-24T09:13:00.005+10:00

The third in this small series of Ordination chasubles was prepared for a young deacon from Canada, who was ordained to the Sacred Priesthood in May.

The ordinand asked for a chasuble in the Philip Neri style, which has become increasingly popular amongst younger clergy, who are desirous of a distinctly "Roman" style of vestment, but yet do not wish to adopt the later style of chasuble of 18th century Rome, sometimes referred to as "fiddleback".

A renaissance-style ivory and gold silk damask was chosen for the chasuble, ornamented with a brocade of burgundy and gold, outlined with a narrow galloon. The ornamentation is in the traditional Roman style of the TAU. The chasuble was fully lined.

Click on the image for an enlarged view.

Enquiries: stbede62@gmail.com

Father Jeff Oehring pictured after his First Mass.

Vestments for Ferial Days

2010-06-22T17:41:00.003+10:00

A priest of the Archdiocese of Sydney commissioned the Saint Bede Studio to make a set of vestments for use on ferial days per annum. This vestment is made from a forest-green taffeta and lined in cotton. It is ornamented with a magnificent silk braid, in first rate condition although 50 years old.

Click on the image for an enlarged view.

Enquiries: stbede62@gmail.com

Restorations at S' Aloysius' Church, Caulfield

2010-06-21T19:42:00.006+10:00

The Latin Mass Community at Saint Aloysius' Caulfield commissioned some restoration of its church interior in time for Holy Week this year. This large church, constructed in 1923, has grown quite tired after a succession of unsympathetic redecorations. One of the sadder features was the High altar: an Omaru stone structure, but which was painted off-white some years ago. The apse wall behind the altar had been painted the same colour, effectively decreasing the altar's prominence. Although never an altar of great beauty, it was nevertheless felt that its appearance could be significantly improved.

The Melbourne firm of Mulholland Restoration and Decorating, which has restored many historic churches in the Archdiocese of Melbourne, was engaged to re-ornament the altar, in conjunction with the Saint Bede Studio. Because cost was a constraining factor, stripping the paint from the altar was deemed impossible. Parts of the stonework were also assessed as being in a quite deteriorated state. Instead, Mulhollands gave the altar a faux-stone treatment, giving it the appearance and texture of sandstone. This work having been carried out, the ornamental work of the altar was treated with a gold medium. To enhance the effect of this work, the apse wall behind the altar was painted white, whilst the string course separating the upper and lower levels of the sanctuary wall and the adjacent columns were also given the faux-stone treatment.

At the same time, the Saint Bede Studio prepared a number of altar frontals.

The results are seen in the photographs below (thanks to Dr Chris Steward). Note that some of the photographs may appear to slightly exaggerate the depth of the sandstone colour.

Click on each image for an enlarged view.

Beginning the stone treatment: the previous painted colour of the altar seen on the right.

Treating the bas-reliefs: David and Barry from Mulhollands.

Work on the column, apse wall and string course.

Goldwork to accentuate ornamental mouldings &c.

After the completion of the paintwork.

Altar frontal for Penitential Days.

Easter Morning, shewing festal altar frontal.

Father Diamond PP celebrating the Evening Mass of the Lord's Supper in the Ordinary Form.

Ordinations 2010 part II

2010-06-18T13:24:00.004+10:00

The second in this small series of Ordination chasubles was prepared for a young Sydney man, who was ordained to the priesthood in S' Mary's Cathedral Sydney on the Feast of the Sacred Heart, along with five other men.

Click on the image for an enlarged view.

Enquiries: stbede62@gmail.com

Sundays after Pentecost

2010-06-14T23:49:00.008+10:00

The Saint Bede Studio has recently completed a commission from the Latin Mass Community of the Archdiocese of Adelaide for a green set of Solemn Mass vestments. The vestments were made from a green silk jacquard and ornamented with a silk braid of crimson, straw and green. Each of the vestments was fully lined. Pictured adjacent is the dalmatic from the set.

Click on the picture for an enlarged view.

Enquiries: stbede62@gmail.com

Ordinations 2010: part I

2010-06-12T17:14:00.002+10:00

One of the great privileges of my work is to prepare vestments for those men preparing for ordination to the sacred priesthood. At this time of year, it seems common for ordinations to take place and I have just finished a number of commissions from deacons in Rome, Australia and the United States who have been or are about to be ordained.

The first featured here was made for a deacon who had a particular desire to have a semi-conical chasuble in the English style of the mediaeval period. The most notable characteristic of the conical and semi-conical chasubles is the way they gather in horizontal folds when the wearer holds up his arms. A picture of the completed vestments, which illustrates these folds, is adjacent.

This chasuble, which is fully lined, is made from a lightweight ivory-colour damask. The orphreys are formed from straw-coloured silk damask, outlined in a quatrefoil braid in red and gold. Rectangles of gold brocade break-up the run of the orphrey. A chasuble owned by an English priest resident in the Archdiocese of Adelaide, since deceased, was the inspiration for this design. I saw it many years ago when visiting him: it was his ordination chasuble.

Click on the picture for an enlarged view.

Enquiries: stbede62@gmail.com

Michael Pearce 1947-2010

2010-05-04T23:10:00.012+10:00

On 27th April, an old friend of mine died peacefully after a long struggle with cancer. I had the privilege of attending his funeral - a beautifully sung Solemn Mass in the Extraordinary Form celebrated on Monday 3rd May in St Mary’s Cathedral Sydney (see photograph at left). For 25 years, Michael Pearce has been a friend and a mentor to me. He taught me many things about the Sacred Liturgy and offered me hospitality at his Sydney home many times. He was a man of great learning, generosity, good humour and perseverance. He it was who first shewed me that remarkable book Vestments and Vesture by Dom Roulin OSB, which in many ways led me to the work I am now doing for the Church. Following the Mass, a splendid sermon was preached by Father Glen Tattersall of the Archdiocese of Melbourne, which I am pleased to publish here as a fitting tribute to Mr. Pearce. Requiescat in pace.

I am the resurrection and the life: he that believes in Me, although he be dead, shall live; and every one that lives, and believes in Me, shall not die forever. Do you believe this?

This question with which Christ challenged Martha in the midst of her grief over the death of Lazarus, her brother, Our Lord poses – in some sense – to every man born into this world.

Michael Pearce’s answer, in life and in death, was a resounding "Yes! I do believe!"

We are not here to canonise Michael. We all know he would wince at the suggestion. But he was a humble and faithful disciple of our Lord Jesus Christ – and therefore, a faithful son of the Holy Catholic Church which the same Lord founded for our salvation. Michael had a keen awareness throughout his entire life that Christ and the Church are inseparable realities: and therefore, that Christ cannot be found outside the Church. He was not blind to the weaknesses, sins and follies of Catholics – he knew his own weaknesses too well for that – but when he looked at the Church he looked beyond the merely human element of its personnel: he saw instead the sublime supernatural reality of Christ’s mystical body. He saw the mysterious Lover of whom David prophesied: “The Lord pours gifts on His beloved while she slumbers.” Michael could never be scandalised by slumberers.

Foremost among those gifts of Christ to His beloved, the Church, was the Divine Liturgy: above all, Our Lord’s gift of His very self and the perpetuation of his redeeming Sacrifice in the Holy Eucharist; and then the other sacraments. Even the Church’s response to this lavish dowry, the Divine Office – a perpetual song of love and praise – was also God’s gift. An unerring Catholic instinct placed sacramental practice – and love of the Sacred Liturgy – at the centre of Michael’s life. Like the disciples on the road to Emmaus, Michael recognised the Lord “in the breaking of the bread”, that is, the Holy Eucharist. He never missed Sunday Mass in his entire life, unless constrained by serious illness. He was frequently at weekday and festal Masses. And he loved the Divine Office, which he rightly understood as something not meant only for clergy and religious, but as truly the prayer of the Church – the whole Church.

Michael began to serve here at St Mary’s Cathedral in 1955, at the age of 8. He became a senior server here, and eventually Master of Ceremonies: a position he held for some 10 years during the 1970’s.

Great changes were abroad at that time. Michael’s boyhood had known peace and triumphalism – but also, in Australia, complacency - in the reign of Pius XII; then the heady optimism that corresponded with John XXIII’s brief reign and the years of the Council, quickly dissolved, and turned to confusion, and in some quarters, dissolution.

By the time he was a young adult Michael was well read in the history and theology of the liturgy. He applauded the general principles laid down by the Vatican Council in its decree on the liturgy. Although in many respects the subsequent liturgical changes went well beyond what the Council mandated, Michael’s expert and steady hand ensured, as much as possible, continuity with tradition and a sense of the sacred, wherever the liturgy was conducted under his direction.

Here, I must record my own particular debt of gratitude to Michael: for it was at the annual conferences of the John XXIII Fellowship – later the Campion Fellowship – that I had my first real experience of the solemnity of the liturgy in the early 1980’s. These conference liturgies were celebrated substantially under Michael’s inspiration and direction. For me, these liturgies – Mass, Office, Benediction - were a revelation of the beauty and majesty of God, and a truly life-changing experience.

Michael greeted the retrieval of the classical Latin liturgy – what we now call the Extraordinary Form or More Ancient Use of the Roman rite – with joy and enthusiasm. This began modestly in 1984 with Pope John Paul’s indult, and gathered force with the Ecclesia Dei decree of 1988. From this point, Michael increasingly devoted his talents and energies to the traditional liturgical forms. He rejoiced at the election of Joseph Cardinal Ratzinger (a renowned liturgist) to the Papacy. The new Pope, Benedict XVI, would move swiftly to ensure an unassailable place of honour for the traditional liturgy. This the Pope achieved in his motu proprio, Summorum Pontificum.

Together with many of us here today, Michael was a founding member of the Ecclesia Dei Society; he was also a key collaborator in the foundation of the community at the Maternal Heart Chapel, Lewisham, where he gave many years of selfless service. At the same time, Michael never lost touch with the wider Church, and he continued especially his lifelong association with the Cathedral. On the Sunday before he died, he attended Vespers here. Just six weeks ago, when I met him here one Wednesday afternoon for Vespers, he told me of his excitement about the re-introduction of regular choral office at St Mary’s: “Just like Westminster!” he exclaimed, with boyish glee.

None of this was about “mere externals”: it was actually all about love of Christ and His Church. Just as the Lord intended, the liturgy formed and fed Michael’s daily Christian life: he was remarkable for his kindness and generosity, and was always ready to see the best in others, including wherever necessary furnishing excuses for them (sometimes these were as improbable as they were charitable). May it be to his eternal credit that he never burnt bridges, but always built them. In his battle with cancer over the last two and a half years, one sensed in Michael a deepened intimacy with Christ and a child-like confidence in the Lord’s gracious and particular Providence for him.

As a good Jewess – not of the party of the Sadducees – Martha already believed in the resurrection of the dead: “I know that he shall rise again in the the resurrection at the last day.” But more was asked of her: “Ego sum resurrectio, et vita…”. “I am the Resurrection and the Life”. The Resurrection is not simply something God does for us from above, as it were, by His serene power issuing from Heaven. No. The Resurrection is a person. Christ has come down from heaven, died and risen again by His own power, for us. As his disciples, our own suffering and death are united to his – in order that the victory of His Resurrection might be extended in us, so that we too might share the joy of His own boundless Divine Life!

Having received and nurtured the gift of faith, the priceless pearl, Michael was able to say with Martha: “Yea Lord, I have believed that Thou art Christ the Son of the Living God, Who art come into this world.”

We grieve Michael’s death, for death was never part of God’s plan: we weep, as Christ wept for Lazarus, though he was about to raise him from the dead! But as St Paul reminds the Thessalonians, we do not grieve as those who have no hope. Our hope is true, for it is based on a sure faith. And so, aware of our common frailty and sinfulness, in faith, hope and love we pray for our dear friend, Michael, that he may be freed and purified of whatever may yet detain him entering into the full and perfect vision and possession of God, Father, Son and Holy Spirit. And we entrust him to the Maternal Heart of Mary, Help of Christians.

Eternal rest grant unto him O Lord, and let perpetual light shine upon him. May he rest in peace. Amen.

Photographs from Michael Pearce's funeral, taken by Miss Tien Nguyen.

Procession into the Cathedral:

At the Absolution:

An Anniversary

2010-04-20T09:52:00.009+10:00

A friend brought to my attention that it is two years since The Order of Mass book, written and edited by me, was launched.

Bishop Elliott had this (amongst other things) to say about the utility of the book at the launch:

I see this assistance being offered to the reader at several levels. At one level this book may be used as a guide to the Mass, providing a rich liturgical and theological commentary, deeply spiritual in tone, full of interesting but relevant details, presented with an originality which engages the reader. This work can serve as an introduction for those who may not be familiar with the “extraordinary” form. The explanatory material wisely assumes that the reader knows nothing about the classical rite, particularly celebrating towards the East, the use of Latin and the sacred setting. Yet this is not done in a patronising way. Those of us familiar with the rite will find original nuances in the explanations which invite us to deeper faith in the Divine Mysteries. The author writes in the best perspective - “faith seeking understanding”. So there is another level of Eucharistic catechesis offered to the reader.

Flushed with the honour of having the Ignatius Press approach me to publish my book and then having the liturgist-bishop Monsignor Peter Elliott launch the work in Melbourne with such high-praise, I thought my book would become a best-seller in Traditionally-oriented liturgical circles. How mistaken I was...

In these two years, there hasn't been a single review of the book, except that which I drew up myself. The various Catholic blogs, which will be well-known to those reading this post, have been completely uninterested in the work, as if it doesn't exist. Complimentary copies which I sent to a number of people were passed over without response. Two Catholic Blogs kindly put up some advertising posts about the book but the response in the Comment Boxes was disturbing: extreme hostility, particularly to the inclusion IN THE APPENDIX of a small number of Prefaces from the 1970 Missale Romanum (permitted by a decision of the Ecclesia Dei Commission, which I cited in the book).

This reaction from sectors of the Traditionalist Catholic movement was disappointing, to say the least. I am also of the view that my decision to make a translation which did not include the use of "thee", "thou" etc. was seen by Traditionalists as decidedly modern, and therefore suspect.

The truth is that my motivation in preparing this work was to lead people to the Extraordinary Form of Mass who knew nothing of it and approached it without pre-conceived notions of what it might - or should - be. It was to be as much a catechetical work as an Order of Mass. Well, from Ignatius Press data, I know that more 3000 copies of the book have been sold, which is most encouraging, but nothing like what I expected.

Do you have a copy of the booklet? If not, why not purchase a copy and then you can judge for yourself whether it has more merit than defect. In the right-hand column of this Blog is link to the Ignatius Press, from whom you might purchase a copy.

Thank you.

Prayer for the Needs of the Church

2010-04-19T11:33:00.006+10:00

Almighty, Eternal God, by ever giving strength to our weakness, you enable the Church to flourish even amidst its trials, so that when it appears to men to be utterly cast down, then rather does it gloriously prevail. Whilst, then, it accepts affliction as a proving of its faith, let it persevere, by your grace, in triumphant loyalty.

Missal of Robert of Jumieges - 11th century

Mitres Part III

2010-04-16T17:44:00.024+10:00

UPDATED
The Saint Bede Studio was commissioned by the Latin Mass Community of Caulfield (Archdiocese of Melbourne) to make four mitres for the use of His Lordship Bishop Meeking during the Liturgies of Holy Week and Easter. We are pleased to shew some photographs of the Bishop wearing the mitres, in addition to some other photographs giving further detail of the mitres.

Left and above:
Precious mitre worn during the Masses of Easter Night and Easter Day. The shape and ornament of this mitre is based on illustrations and examples found in 12th-13th century Italy and France. The mitre is made from cloth silver and ornamented with braids in varying shades of gold. The photographs also shew the conical chasuble designed by the Studio based on the famous chasuble of S' Thomas Becket kept at Sens Cathedral. This will be the subject of a separate post.

Click on each image for an enlarged view.

Below:
Cloth gold mitre worn on Palm Sunday, Maundy Thursday, the Easter Vigil, Easter Day and Easter Monday.

Click on each of the pictures for an enlarged view.

Photographs of the Holy Week liturgies were taken by Dr Chris Steward

Below:

Precious mitre worn during the Procession of Palms on Palm Sunday, Maundy Thursday and Easter Monday. This mitre is a simplified form of the 14th century mitre found throughout Europe and UK. By that century the mitre had begun to be made taller, without the exaggerations which occurred from the late 15th century onward. This mitre is made from silk damask. Its ornament is derived from the designs of AWN Pugin.

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Simplex mitre worn on Good Friday.

Holy Week in Melbourne (part three)

2010-04-10T00:54:00.007+10:00

We continue our series of photographs from the Latin Mass Community at Saint Aloysius' Church, Caulfield North (Archdiocese of Melbourne) of the rites of Holy Week. A complete set of photographs can be found here.

As mentioned in our earlier posts, this year, Holy Week was especially significant for the Melbourne Community, since the rites were celebrated by the Most Rev'd Basil Meeking DD, Bishop-emeritus of the Diocese of Christchurch (New Zealand) and well-known supporter of Catholic Tradition. These ceremonies at Caulfield also represent the first occasion since the mid-1960s that the Holy Week rites have been celebrated Pontifically in Australia according to the Extraordinary Form.

In this post, photographs of the Easter Vigil, Easter Day and Easter Monday.

Click on the photograph for an enlarged view.

The Paschal Vigil
At the Lumen Christi
Father Tattersall carrying the Paschal Candle:

The Paschal Vigil

During the Renewal of Baptismal Promises:

Pontifical Mass of Easter Night
At the Consecration:

Pontifical Mass of Easter Night
At the Bishop's Blessing:

Pontifical Mass of Easter Day
During the singing of Terce:

Pontifical Mass of Easter Day
Incensation of the Bishop at the Offertory:

Pontifical Mass of Easter Day
At the Ecce Agnus Dei:

Pontifical Mass of Easter Day
At the Bishop's Blessing:

Pontifical Mass of Easter Monday
At the Offertory
Assistant priest, Father Tattersall;
deacon,Father McDaniels; subdeacon, Father Terence OFM (Conv.):

Pontifical Mass of Easter Monday
Incensation at the Offertory:

Pontifical Mass of Easter Monday
Incensation of the Bishop:

Pontifical Mass of Easter Monday
At the Preface:

Pontifical Mass of Easter Monday
Lavabo after Holy Communion:

Pontifical Mass of Easter Monday
At the Bishop's Blessing:

Extraordinary Scenes in Melbourne: part two

2010-04-08T09:49:00.007+10:00

We are pleased to continue our series of photographs taken by Dr Chris Steward of the Latin Mass Community at Saint Aloysius Church, Caulfield North (Archdiocese of Melbourne) of the rites of Holy Week.

This year, Holy Week is especially significant for the Melbourne Community, since the rites are being celebrated by the Most Rev'd Basil Meeking DD, Bishop-emeritus of the Diocese of Christchurch (New Zealand) and well-known supporter of Catholic Tradition. These ceremonies at Caulfield also represent the first occasion since the mid-1960s that the Holy Week rites have been celebrated Pontifically in Australia according to the Extraordinary Form. May we not hope that what has happened in Melbourne this year may become a common phenomenon world-wide in the years to come?

In this post, photographs of the Bishop's Low Mass on Spy Wednesday; Tenebrae of Maundy Thursday; the Evening Mass of the Lord's Supper on Maundy Thursday, Stations of the Cross on Good Friday, followed by the Solemn Commemoration of the Lord's Suffering and Death.

Note that a complete series of photos can be found here.

Please click on each photo for an enlarged view.

Spy Wednesday in Holy Week: Low Mass of the Bishop
Orate Fratres.

Spy Wednesday in Holy Week: Low Mass of the Bishop
Ecce Agnus Dei
Chaplains to the Bishop Father Terence OFM (Conv) and Father Tattersall.

Maundy Thursday: Tenebrae
Lesson in the 2nd Nocturn
sung by director of the Schola, Nick Dinopoulos.

Maundy Thursday: Tenebrae
Lesson in the 3rd Nocturn
sung by Father Tattersall.

Maundy Thursday: Evening Mass of the Lord's Supper
The Mandatum.

Maundy Thursday: Evening Mass of the Lord's Supper
At the Altar of Repose.

Maundy Thursday: Evening Mass of the Lord's Supper
The Stripping of the Altars.

Good Friday: Stations of the Cross
The Schola at the 1st Station.

Good Friday: Stations of the Cross
The Bishop assisted by Father Terence OFM (Conv).

Good Friday: Commemoration of the Lord's Suffering and Death
The Passion Gospel.

Good Friday: Commemoration of the Lord's Suffering and Death
The Bidding Prayers.

Good Friday: Commemoration of the Lord's Suffering and Death
The Unveiling of the Cross.

Good Friday: Commemoration of the Lord's Suffering and Death
The Communion Rite.

Holy Week in Melbourne (Extraordinary Form) I

2010-03-28T22:40:00.006+11:00

We are pleased to be able to post a series of photographs taken by Dr Chris Steward of the Latin Mass Community at Saint Aloysius Church, Caulfield North (Archdiocese of Melbourne) of the rites of Holy Week. Note that a complete series of photos can be found here.

This year, Holy Week is especially significant for the Melbourne Community, since the rites are being celebrated by the Most Rev'd Basil Meeking DD, Bishop-emeritus of the Diocese of Christchurch (New Zealand) and well-known supporter of Catholic Tradition. These ceremonies at Caulfield also represent the first occasion since 1969 that the Holy Week rites have been celebrated Pontifically in Australia according to the Extraordinary Form.

In this first post, the Palm Sunday rites. Mitres used were made by the Saint Bede Studio. The vestments used in the photographs below, however, were made by the firm of Th. Pijnappel in 's-Hertogenbosch, the Netherlands, 60 years ago for a religious community in Melbourne. They are masterpieces of design.

Procession for the Blessing of Palms:

The Bishop distributing the Blessed palms.

The Procession with palms.

The Bishop with sacred ministers during the Procession

(Father Tattersall, assistant priest; Father McDaniels, deacon; Father Terence OFM (Conv.).

Incensation of the Altar at the beginning of the Mass.

Chanting of the Passion Gospel according to S' Matthew.

At the faldstool during the Et Incarnatus est.

At the Elevation.

At the bishop's Blessing.

Click on each photograph for an enlarged view.

Mitres, part the second.

2010-02-06T16:57:00.003+11:00

What should we find on the Blogs today, but a splendid snap by that indefatigable photographer of Catholic Tradition, Tom Kwok. This photograph was taken in the Sacred Heart Cathedral Bendigo during a Pontifical Mass celebrated by the Most Rev'd Peter Elliott, auxiliary bishop of Melbourne, on the Feast of Christ the King, 2008.

Ornamenting His Lordship's head is mitre made by the Saint Bede Studio and presented to him by the Australian Confraternity of Catholic Clergy upon his consecration as a bishop in 2007.

Mitres

2010-02-01T19:24:00.002+11:00

This is the first of a series of posts illustrating past projects of the Saint Bede Studio.

Adjacent is a collage of three precious mitres made for some noteworthy clients. On the left is a mitre made for the Archbishop of Adelaide, the Most Rev'd Philip Wilson. Ornament on this mitre was based on a design of AWN Pugin. In the middle is the mitre made for HH Pope Benedict for World Youth Day (Sydney) 2008. The ornament on this mitre was based on the famous mitre of S' Thomas Becket, housed at the Sens Cathedral. On the right, a simpler mitre, made for HE Cardinal Pell, Archbishop of Sydney.

The design of mitres is all too often underestimated or ignored in choosing vestments for a bishop. The use of headgear makes such a notable change to the appearance of a man, that sound consideration needs to be given to the design of a mitre. Mitres of the Saint Bede Studio are custom made. Particular attention is paid to the shape, height and decoration of its mitres in order to make them most appropriate for the wearer.

Enquiries: stbede62@gmail.com

2010

2010-02-01T10:00:00.002+11:00

Greetings to all our clients and readers of this Blog.

Our other website - a tired old thing - is undergoing a major revamp. In the meantime, however, there are some temporary changes and improvements.

Note that the Studio website can be visited here.

Photographs on the Studio website now link directly to postings on this Blog. This is a new approach so that the two sites will be interconnected and not two distantly-related entities.

2009-12-26T11:44:00.004+11:00

To all readers of this Blog, friends and customers of the Saint Bede Studio, my best wishes for a Blessed Christmas, filled with the graces of this Holy Season.

Photographs of Christmas Matins celebrated at S' Aloysius Church, Caulfield (Archdiocese of Melbourne, Australia). Photographs taken by Dr Chris Steward.

On raising the chasuble at the Elevations

2009-12-22T09:03:00.006+11:00

Maria Regina Vestments

2009-12-15T20:19:00.012+11:00

The Saint Bede Studio was commissioned by Saint Mary's Parish, Charleston, South Carolina, to prepare a Solemn Mass set of vestments based upon the Maria Regina design. The Pastor of Saint Mary's is also the Rector of the Charleston Cathedral.

The Studio regularly receives enquiries for the Maria Regina chasuble, which is derived from a design of AWN Pugin.

Pictured adjacent are parts of the set: the chasuble, cope and a tunic.

Click on the photographs for enlarged views.

Enquiries: stbede62@gmail.com

A Rose by any other name but pink

2009-12-11T17:15:00.006+11:00

Newsflash: there is no official shade of Rose designated by the Church, nor has there ever been. The reason for this is rather simple: only in the last century did the process of dyeing fabric become sufficiently sophisticated to ensure that much the same shade of a colour emerged from one batch of fabric dyeing to another.

At the Blog, The New Liturgical Movement, we find a number of interesting vestments in that shade of Rose commonly found in Italy in centuries past: a salmon colour. Go there and take a look.

Adjacent are three pictures of other shades of Rose. One is a set of vestments worn by Pope Paul VI on Laetare Sunday, 1978 (photographs of L'Osservatore Romano). The vestment is made from dupion silk of a very subdued mushroom-pink, with overtones of silver. Ornamenting it is a column almost fuchsia in colour.

The other picture is the cope made by the Saint Bede Studio for the Latin Mass Apostolate in Melbourne. It has overtones of subdued red in it, yet decidedly unlike the colours used for Liturgical Red. This cope is ornamented with a brocade of forest green, and a braid of Gothic foliage ornament.

Another set of Rose vestments made last year by the Studio for the Cathedral of Atlanta, Georgia can be seen here.

Enquiries: stbede62@gmail.com

Penitential Vestments continued

2009-12-02T09:49:00.006+11:00

UPDATED 4th December

Continuing today with another work of art depicting sacred vestments and in particular the colour used for Penitential Days and Seasons.

Shewn adjacent is a vignette from a larger painting titled Scenes from the Life of Saint Augustine. It was painted in Bruges around 1490 by the artist who is referred to as The Master of Saint Augustine. This painting is housed now in the marvellous setting of The Cloisters, from whose website I was able to obtain this enlarged view.

Saint Augustine is shewn here being ordained a priest. What Augustine, the bishop and the lesser ministers are wearing is typical of the style of vestments found throughout the Low Countries (what we would now identify as the Netherlands and Belgium) in the 15th century. Let us examine that in detail.

All four are wearing well-gathered albs, which are decorated with rectangles of damask (called apparels) along the lower edge on the front and the back and also on the cuffs. Note also, how closely-fitting the sleeves of the albs are, and that the apparels of the ministers match the violet colour of the priest's chasuble. Apparelled albs and apparelled amices like this were worn all over Europe (including in Rome) throughout the mediaeval period.

An exceedingly slender maniple and stole is worn by Augustine (a form typical of England and Northern Europe) which are made from the same fabric as the apparels of his alb and amice.

Both the chasubles are decorated with the Y shape of orphrey. Although this form of decoration was centuries old when this work was painted, it was more commonly found in some places and less in others. It was not as common in Germany and southern Europe.

The ornament of the Augustine's chasuble appears to be tabernacle-like work of saints, embroidered on a dark background. This contrasts beautifully with the lighter violet colour of the chasuble. In our previous post, shewing Mass being offered in Siena Cathedral, we find the a very similar colour scheme of chasuble and ornament. The colour is blue-ish and not too dark. Note how much more penitential and striking in character these sombre orphreys are compared with the all-too-common use of gold on purple or violet vestments: a decorative scheme which displays a real lack of imagination.

Both chasubles are semi-conical in form, or perhaps more precisely a modified version of the semi-conical shape. Were Augustine and the bishop pictured to have their arms by their sides instead of raised, the chasubles they are wearing would fall just about to their wrists. This is a more abbreviated width from earlier centuries. The curving folds from the bottom of the chasuble were produced when the shoulders of the vestments were very steeply sloped: quite unlike the poncho-like form of the modern chasuble and the sandwich-boards effect of the fiddleback chasuble.

The bishop is shewn in Pontificals. Beneath his chasuble of scarlet-red is seen an ornamented golden dalmatic. The tunic cannot be seen. He is wearing a precious mitre; the horizontal and vertical ornamental bands are worked onto a base of gold fabric and enriched with precious stones.

Lastly, a word on the colours of the vestments. The more modern concept of matching colours did not exist in the mediaeval period, when the whole scheme of the Liturgical Colours (as we know them now) was far less developed. A practical reason for this "mix and match" was the lack of available fabric in matching colours. But that does not fully account for the more familiar approach we see in paintings and illuminations of the mediaeval period, where a chasuble was made up from one fabric, but the stole, maniple and apparels were made up from another, and usually contrasting, fabric. What a varied and pleasing effect this produces!

Thanks to Brother Stephen O. Cist for helping to clarify the scene depicted in this vignette.

Click on the image for an enlarged view.

The colour for vestments in the Penitential Seasons

2009-11-28T15:15:00.003+11:00

A couple of years ago, I researched and posted an article on the use of penitential colours for the Seasons of Advent, Lent &c. That post may be read here and here, so I don't intend to rehearse its findings.

Click on the image for an enlarged view.

Vestments for the Season of Advent

2009-11-24T18:41:00.008+11:00

An Australian priest commissioned the Saint Bede Studio to make an ample chasuble for the Penitential Seasons. The adjacent photograph shews the completed chasuble in the Saint Martin style, which is semi-conical in shape. Because Advent and Lent in Australia correspond to the hottest months of the year, the chasuble is unlined.

Made of a brocade of rich-violet colour, the chasuble is ornamented with the "tau" on the front and single column on the back, according to Roman tradition. The orphreys are formed from a silver-coloured jacquard, ornamented with vinework in burgundy.

Click on the photograph for an enlarged view.

Enquiries: stbede62@gmail.com