Pugin-inspired Braids

The Saint Bede Studio is pleased to announce the release of the first of a series of vestment braids after the style of AWN Pugin. The first of these braids (width 8cm) is shewn in the adjacent picture and is old gold on crimson red. The genius of Pugin was such that he conceived a braid which would happily ornament all the liturgical colours: White, Green, Red, Violet and Black. Pugin's original braid (in the same colours, crimson and gold), designed in the 1840's, may be familiar to readers and a form of it is still available from English manufacturers (with the unhappy addition of lurex thread). The Saint Bede Studio braid, however, is an original design, based upon Pugin's work, not a copy of it. The designs for this new series of Puginesque braids will be protected under international law.

The Colour (Color) Purple: part one

Some months ago, I had an online discussion about the difference between the colours purple and violet. In descriptive terms, violet is tinged with blue; purple is tinged with red. So, when the Church’s ceremonial books cite the colour "violaceus" (a Latin word), which colour is meant: violet or purple? There is no definitive answer to this, since the word itself can mean either purple or violet. See the problem? We know that the vesture of bishops is of a colour we call Roman purple. Is this the colour intended for sacred vestments in the Seasons of Lent and Advent? Some say yes, some say no. The practice throughout the world and in Rome itself has differed over the course of the last several centuries.

Let’s try to distinguish the uses of the colour "violaceus". The colour of vestments in Advent and Lent is intended to be penitential and sombre. The purple of bishops, however, is intended to be a mark of their rank, and is derived from the ancient use (by the Romans) of purple robes to denote dignity, prestige and royalty. Thus, that purple is not intended to be penitential.

Do we know what the ancient colour purple was? Until recently, no. But because of the research of English chemist John Edmonds and German artist Inge Boesken Kanold (go to website) we do now have a better idea. It is well known that the purple dye was made from the murex shellfish, which were obtained in ancient times from the seaport of Tyre. Did these shellfish produce a single, specific colour? Evidently not, because it depended on the shellfish which was used. One thing that can be said was that the dye produced by these shellfish was a rich, not a sombre colour. As to the hue? There is evidence of the shellfish producing both purple (similar to the colour of the robes of modern bishops) and also the colour of the flower violets.

In a separate article, I will try to deal with the question of when violaceus came to be designated as a pentitential colour (relatively recently) for liturgical use.

Mitre for Melbourne liturgist-bishop

The Australian Confraternity for Catholic Clergy (ACCC) commissioned the Saint Bede Studio to make a mitre for the newly-consecrated auxiliary bishop of Melbourne, the Most Rev'd Peter Elliott. +Msgr Elliott is well known for his ceremonial commentaries on the Roman Rite. The mitre was made from Ecclesia cloth-gold brocade and is lined with rich Roman purple dupioni silk. To the new bishop: Ad multos Annos.

Pontifical Mass in Melbourne

The auxiliary bishop of Melbourne, Dr. Christopher Prowse, celebrated Pontifical Mass at the faldstool for the Traditional Mass Community of Saint Aloysius, Caulfield North (Melbourne) on Sunday 22nd April. This was the first occasion that the bishop had offered the Old Mass, although in 2006 he had conferred the Sacrament of Confirmation according to the old Pontifical. The bishop was assisted at the Mass by Fathers Tattersall, McDaniels and McCaffrey of the Fraternity of Saint Peter.

The Saint Bede Studio had been asked to make a dalmatic and tunic for the bishop, in addition to a precious mitre and cloth-gold mitre. The precious mitre, which was to match an existing set of Solemn Mass vestments, is shewn in the adjacent photograph.

Vestments for the post-Pentecost Season

The Saint Bede Studio has recently completed a set of Solemn Mass vestments for the Traditional Mass Community of Saint Aloysius in Caulfield North. The adjacent picture shews the dalmatic and tunic from this set. An attractive green brocade is very difficult to obtain and we are constantly searching for supplies of the same.

Month's Mind

Father Tattersall, Chaplain to the Traditional Mass community in Caulfield (Archdiocese of Melbourne), recently visited Singleton to offer Mass in the Convent Chapel of the Sisters of Mercy. The occasion was a Month's Mind for my mother, Clare Sternbeck.

Conical chasuble

Adjacent is a photograph of a conical chasuble recently completed by the Saint Bede Studio. For readers who may be unfamiliar with this style, its shape 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 allowed to rest in the small of the arms. When this happens, the vestment folds upward from the bottom in a manner quite distinctive. Mediaeval illustrations regularly show vestments with precisely these folds. 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.

A personal note

My dear Mother, Clare Jane Sternbeck, died unexpectedly on 25th April. Her illness lasted less than a day. She died peacefully having been anointed and received Holy Communion some hours before. My sisters and I had the privilege of being with my mother in her last hours.

My mother's funeral was celebrated in S' Patrick's church Singleton by Fr Glen Walsh. He was assisted by Fr. Michael McCaffrey FSSP. A small schola of very generous friends sang the Gregorian chants of the Requiem Mass, which created a consoling, tranquil atmosphere.

The morning was very overcast and threatening rain, but during the Memento of the Dead of the Canon and during the Final Commendation, a ray of sunlight broke through and shone through the Seven Dolours window, falling onto my Mother's casket, just where her head was resting. A beautiful sign of God's presence.

My mother, the child of devout parents, and the product of a thorough Catholic education, had a life-long love of God, the Blessed Virgin and the Church. Her devotion to the Blessed Virgin was expressed by her being part of the Children of Mary in her youth and the Legion of Mary in her later years. Perhaps my mother’s Christian Faith was most manifest in her years and years of empathy with and generosity to the sick, elderly and bereaved. Until age made it too difficult, she had been a regular visitor to the residents of Singleton's Retirement and Nursing homes. And over the last 30 years or more (until the last few years), she never missed a Catholic funeral in the parish, and often went to funerals in other churches. Prayer was a large part of my mother’s life and she kept lists of those for whom she wanted to pray. Another of her little apostolates was to send people greeting cards, of which she sent thousands throughout her life. My mother was always most grateful for anything that was done for her and always repaid kindness with generosity and her never-failing sense of humour.

My heartfelt thanks to all those who have offered their sympathy and have supported us with their prayers.

More Decisions of the Ecclesia Dei Commission

Above are shewn decisions of the Ecclesia Dei Commission, given in 1997 in response to dubia posed by an Australian bishop. They concern, of course, the celebration of Mass according to the 1962 Missale Romanum. The decisions may be summarised as follows:

1. At a Low Mass, the celebrant may read an approved translation into the vernacular of the Epistle and Gospel.

2(a) At a Solemn Mass, the celebrant and ministers may join with the schola in singing a plainchant Gloria and Credo, without the requirement of reading them together beforehand.

2(b) At any sung Mass, the entire congregation may join with the Celebrant in singing the Pater noster.

3. The additional prefaces which were included in an appendix of the 1965 Missale Romanum may be used at any celebration of Mass according to the 1962 Missal. Furthermore, prefaces from the 1970 Missale Romanum may also be included.

In addition to these Decisions, the Commission attached to the letter its permissions regarding the form of the Conventual Mass which may be celebrated by the Traditionalist Benedictines of France. By this was intended that the form of celebration described may be celebrated elsewhere:

1. If the celebration of the Divine Office precedes Mass, the Prayers at the Foot of the altar may be omitted.

2. The rites accompanying the readings from scripture may be celebrated at the sedilia.

3. The readings may be proclaimed facing the people, whether in Latin or the vernacular and the celebrant is not required to read them or the Gradual chants separately.

4. Bidding Prayers may be offered after the Oremus, immediately preceding the Offertory.

5. The "Secret" prayer may be sung aloud.

6. The celebrant may sing the entire doxology Per ipsum, whilst elevating the Host over the chalice.

7. The Pater noster may be sung by all with the celebrant.

8. The final Blessing may be sung, and afterwards the Last Gospel may be omitted.

Mitre of Pope Paul VI

This is a picture of Pope Paul during his visit to Sydney Australia in November, 1970. He is wearing one of several identical mitres which were designed for him, ornamented with embroideries of the Four Evangelists. These mitres were made for Pope Paul by a Milanese firm. The mitre is remarkable for its couched gold thread, running in parallel circles (you can see this in the photograph). The highest workmanship is evident in these mitres and they are of good proportion. Pope Paul left his mitre in Sydney after his visit, and thus have I been able to examine the one pictured in close detail.