During the Canon. |
The Elevation. |
The High Altar in the Abbey Church of Saint Cecile. Beyond the screen is the choir of the nuns, which forms a transept. The nave of the Church is to the right in the photograph. |
Mother Abbess after the Blessing. |
During the Canon. |
The Elevation. |
The High Altar in the Abbey Church of Saint Cecile. Beyond the screen is the choir of the nuns, which forms a transept. The nave of the Church is to the right in the photograph. |
Mother Abbess after the Blessing. |
In this Paschal Season, we are pleased to present some vestments made for Festal days, but which would also be suitable throughout the Eastertide.
This set of vestments is in the style we call Saint Austin. It is a stylised chasuble common in the Gothic Revival period of the mid-19th century. The chasuble is long, but not wide and comes to a point at the front and the back. As made by the Saint Bede Studio, this style of vestment is very comfortable to wear.
This particular set was made from a beautiful ecclesiastical brocade in a shade of ivory, it was lined in a lemon shade of taffeta and ornamented with a one of the Studio's unique braids Saint Giles in colours of red, burgundy and gold, enhanced with a matching galloon.
Please click on the image for an enlarged view.
Please note that posts on this blog are set-up for viewing via a web-browser, not via a mobile phone.
AMDG
In this Paschal Season, we are pleased to present some vestments made for Festal days, but which would also be suitable throughout the Eastertide.
This set of vestments is in the style we call Saint Philip Neri. It is a modern interpretation of the chasubles illustrated in various depictions of Saint Philip. Although ornamented in the Roman manner, this is an earlier and more traditional form of "the Roman chasuble" being both wider and longer. As made by the Saint Bede Studio, this style of vestment is very comfortable to wear.
This particular set was made from a beautiful silk damask in a shade of ivory, it was lined in a muted golden taffeta and ornamented with a repeating Cross-design brocade, outlined with a golden galloon.
Please click on the image for an enlarged view.
Please note that posts on this blog are set-up for viewing via a web-browser, not via a mobile phone.
AMDG
In this Paschal Season, we are pleased to present some vestments made for Festal days, but which would also be suitable throughout the Eastertide.
This set of vestments is in the style we call Saint Philip Neri. It is a modern interpretation of the chasubles illustrated in various depictions of Saint Philip. Although ornamented in the Roman manner, this is an earlier and more traditional form of "the Roman chasuble" being both wider and longer. As made by the Saint Bede Studio, this style of vestment is very comfortable to wear.
This particular set was made from an ecclesiastical brocade in a shade of ivory, it was lined in a golden taffeta and ornamented simply with an outlining golden galloon.
Please click on the image for an enlarged view.
Please note that posts on this blog are set-up for viewing via a web-browser, not via a mobile phone.
AMDG
This particular set was made from dupion silk in a shade of ivory, it was lined in a golden taffeta and ornamented simply with a galloon in blue, red, gold and white, (one of the Studio's stable of ornamental braids).
Please click on the image for an enlarged view.
Please note that posts on this blog are set-up for viewing via a web-browser, not via a mobile phone.
AMDG
In this Paschal Season, we are pleased to present some vestments made for Festal days, but which would also be suitable throughout the Eastertide.
This set of vestments is in the style we call Saint Philip Neri. It is a modern interpretation of the chasubles illustrated in various depictions of Saint Philip. Although ornamented in the Roman manner, this is an earlier and more traditional form of "the Roman chasuble" being both wider and longer. As made by the Saint Bede Studio, this style of vestment is very comfortable to wear.
This particular set was made from an ecclesiastical brocade in a shade of ivory, it was lined in a golden taffeta and ornamented simply with an outlining golden galloon.
Please click on the image for an enlarged view.
Please note that posts on this blog are set-up for viewing via a web-browser, not via a mobile phone.
AMDG
A 19th century engraving depicting the Pope, surrounded by the Papal Court washing the feet of thirteen poor men of Rome. This rite took place in the Sistine Chapel on the morning of Maundy Thursday. |
This tradition, we may believe, has never been interrupted, though the evidence in the early centuries is scattered and fitful. For example the Council of Elvira (A.D. 300) in Canon 48 directs that the feet of those about to be baptised are not to be washed by priests but presumably by clerics or at least lay persons. This practice of washing the feet at baptism was long maintained in Gaul, Milan, and Ireland, but it was not apparently known in Rome or in the East. In Africa the nexus between this ceremony and baptism became so close that there seemed danger of its being mistaken for an integral part of the rite of baptism itself (Augustine, Ep. LV, Ad Jan., n. 33). Hence the washing of the feet was in many places assigned to another day than that on which the baptism took place. In the religious orders the ceremony found favour as a practice of charity and humility. The Rule of St. Benedict directs that it should be performed every Saturday for all the community by him who exercised the office of cook for the week; while it was also enjoined that the abbot and the brethren were to wash the feet of those who were received as guests. The act was a religious one and was to be accompanied by prayers and psalmody, "for in our guests Christ Himself is honoured and received". The liturgical washing of feet (if we can trust the negative evidence of our early records) seems only to have established itself in East and West at a comparatively late date. In 694 the Seventeenth Synod of Toledo commanded all bishops and priests in a position of superiority under pain of excommunication to wash the feet of those subject to them. The matter is also discussed by Amalarius and other liturgists of the ninth century. Whether the custom of holding this Maundy (from Mandatum novum do vobis, the first words of the initial Antiphon) on Maundy Thursday, developed out of the baptismal practice originally attached to that day does not seem quite clear, but it soon became a universal custom in cathedral and collegiate churches. In the latter half of the twelfth century the pope washed the feet of twelve sub-deacons after his Mass and of thirteen poor men after his dinner. The Caeremoniale Episcoporum (1600) directs that the bishop is to wash the feet either of thirteen poor men or of thirteen of his canons. The bishop and his assistants are vested and the Gospel Ante diem festum paschae is ceremonially sung with incense and lights at the beginning of the function. Most of the sovereigns of Europe used also formerly to perform the Maundy. The custom is still retained at the Austrian and Spanish courts.