The Assumption : 2

On this Solemnity of the Assumption of the Blessed Virgin Mary, the Studio is pleased to present a further set of Marian vestments.  We have made a number of these sets, which we have named Salve Regina.

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

The vestments, in our Saint Benet Gothic Revival style, were made from a brocade in a shade of ivory and lined with taffeta in the shade Peacock blue. 

The ornament of these vestments is in the familiar Gothic Revival style and is formed from one of the Studio's unique orphrey braids titled Salve.  It is woven from two contrasting colours of blue thread, relieved with ivory and straw-gold.  

Click on the images for an enlarged view. 

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

Enquiries.

Information on placing an order.

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

AMDG

Papal Liturgies of the 16th century

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

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

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

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

A detail of Vasari's 16th century fresco.

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

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

Another detail of Vasari's fresco.

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

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

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

Click on the images for an enlarged view.

AMDG

Ascensiontide : 3

 

This post features a set of vestments in the Studio's re-creation of the most ancient form of chasuble, often referred to as the conical chasuble.  Most readers of this post will never have seen such a chasuble, which was the only form of chasuble in the West from primitive times until the Middle Ages.  

The conical chasuble is like a flattened bell in its shape, with very long shoulders seams.  When it is put on, it completely envelops the wearer and must be drawn up into the small of the arms for convenience.  It is in drawing-up the chasuble in this way that caused it to form the distinctive folds which are so commonly seen in Mediaeval images of the celebration of Mass.  These folds are shewn in the image.

This set of vestments was made from an ivory-coloured dupion silk and lined with a lemon-coloured cloth.  It was ornamented with one of the Studio's unique braids, forming a TAU in the front and a column at the back.  This braid, being a replica of  a mediaeval ornament, is in colours of red, white and straw-gold upon a deep blue background.  It is called Saint Raymund.

Click on the image for an enlarged view.

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

Enquiries : stbede62@gmail.com

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

AMDG

The Season Per Annum 2025 : 2

In this post, we are pleased to present a distinctive set of vestments in the primitive style sometimes referred to as conical. If any chasuble of the Roman Rite is rightfully to be referred to as "Traditional" then the ancientness of this form earns that designation, since it was used for the Eucharistic celebration from the first centuries of the Church and for fully a thousand years thereafter. The ancient form of the chasuble was common in the East and the West, but the cut of the chasuble diverged at some point.

The primitive style of chasuble is shaped like a bell and when the arms of the wearer are by his side, it envelops the body from the neck to the shins.  But when the arms of the wearer are extended, the conical chasuble folds up from the bottom, as the image above clearly shews.

A conical chasuble, however, may be worn in quite different ways and in the manner illustrated in the adjacent photograph, it is obvious how the Byzantine chasuble or phelonion is related to the ancient chasuble, common to East and West.

These vestments were made from a rustic silk, with a linen-like weave and in a  vibrant shade of green.  The ornament of this chasuble is very simple.  The chasuble is unlined, but because of the weight of the silk, the vestment has good drapery and is not in the least flimsy. 

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

Click on the image for an enlarged view.

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

Enquiries : stbede62@gmail.com

Information on placing an order.

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

AMDG

Paschaltide : 9

 

This post features a set of vestments in the Studio's re-creation of the most ancient form of chasuble, often referred to as the conical chasuble.  Most readers of this post will never have seen such a chasuble, which was the only form of chasuble in the West from primitive times until the Middle Ages.  

The conical chasuble is like a flattened bell in its shape, with very long shoulders seams.  When it is put on, it completely envelops the wearer and must be drawn up into the small of the arms for convenience.  It is in drawing-up the chasuble in this way that caused it to form the distinctive folds which are so commonly seen in Mediaeval images of the celebration of Mass.  These folds are shewn in the image.

This set of vestments was made from an ivory-coloured dupion silk and lined with a lemon-coloured cloth.  It was ornamented with one of the Studio's unique braids, forming a TAU in the front and a column at the back.  This braid, being a replica of  a mediaeval ornament, is in colours of red, white and straw-gold upon a deep blue background.  It is called Saint Raymund.

Click on the image for an enlarged view.

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

Enquiries : stbede62@gmail.com

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

AMDG

In the Season of Advent

During this holy Season of Advent, the Saint Bede Studio is pleased to present a set of violet vestments completed this year for a returning customer.  

This distinctive set of vestments was made from silk dupion in a lighter hue of violet; it was lined with a taffeta in a very dark shade of blue.  The colour of the vestment inclines towards blue; but it is distinctly violet, as distinct from purple or blue.

The chasuble is in the style we call Saint Cuthbert,  being a contemporary version of a mediaeval chasuble.  The chasuble is very ample, being both wide and long, and is ornamented with a narrow braid in the familiar "Y" arrangement.  

The braid ornamenting these vestments is purple and ivory, upon a black base.  It is complemented by a narrow galloon in a lighter shade.

Click on the images for an enlarged view. 

Enquiries

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

AMDG

During the Month of the Holy Souls : 1

During this, the Month of the Holy Souls, the Saint Bede Studio is pleased to present sets of black vestments recently completed for our customers.  The first is a Solemn Mass set and in this post we discuss its chasuble.

The chasuble was made according to the most ancient form of the chasuble, sometimes called the conical form.  It is quite different from the Gothic Revival chasuble in that its shoulder seams are steeply sloped and very long indeed.  It resembles the shape of a cope, but not open at the front.

These vestments were ornamented very simply and in a colour scheme of silver and black.  The chasuble's orphrey was formed from a narrow galloon in silver and grey, whilst the chasuble's lining was formed from a silvery-grey taffeta.

The image above illustrates how a conical chasuble falls around on all sides when the arms of the celebrant are by his side.

A further post will illustrate the different ways in which the conical chasuble can be worn.

Click on the images for an enlarged view. 

Enquiries

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

AMDG

Festal Vestments : 2

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 ancient form of chasuble, being cut in the shape of a bell.  It is usually referred to as a conical chasuble.  As made by the Saint Bede Studio, this style of vestment is lightweight and comfortable to wear.

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.

Enquiries.

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

AMDG

Advent at the Church of S' Birinus (UK)

The beautiful Church of S' Birinus in Oxfordshire was one of the early works of the Gothic Revival architect William Wardell, whose later career in Australia produce such masterpieces as the Cathedral of Saint Mary, Help of Christians in Sydney and the Cathedral of Saint Patrick in Melbourne.

S' Birinus, however, is a church on a very small scale, but with its every detail faithful to Mediaeval architectural and decorative styles.  Its chancel is exquisitely decorated with polychrome work and gilding.

The Parish has a YouTube site and Holy Mass is regularly videocast from the church, assisted by a small but splendid choir. 

This link is to Mass offered on the First Sunday of Advent.  The celebrant is wearing a semi-conical chasuble in Sarum blue made some years ago by the Saint Bede Studio.

A screen capture from a video of Holy Mass 
celebrated at the Church of S' Birinus, Oxfordshire UK.

AMDG.

Conical vestments

The Saint Bede Studio recently completed this set of red vestments for a returning customer from Texas (USA).  This is in the semi-conical form, the style of which pre-dates the mediaeval period.

The chasuble was made from a deep red shade of dupion silk and lined in a bronze-coloured taffeta.  Its ornament is based on the well-known chasuble of Saint Thomas Becket housed in the French Cathedral of Sens.

Please click on the images for an enlarged view.

Enquiries : Visit this page

In Dark Times for the Church

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 prevails.  Whilst then, it accepts affliction as a proving of its faith, let it persevere, by your grace, in triumphant loyalty.  Amen.


A Collect from the Missal of Robert of Jumieges, 11th century.

This edifying image of Holy Mass being offered at the Benedictine Abbey of Downside (Bath, United Kingdom) is from the Facebook page of Father Terence M. Naughtin OFM (Conv.).

Styles & Tradition in the chasuble of the Roman Rite

Figure 1
S. Charles Borromeo.

Image : National Library of Victoria.

If Saint Charles Borromeo (Cardinal-Archbishop of Milan 1560-1584), were alive today I suspect he would be regarded as hero to those who cherish the traditions of the Church. An important figure at the Council of Trent and confidant of Popes, he was anxious to preserve traditions and not allow fashion, false doctrine or laxity to push Tradition to one side. As Archbishop of Milan he wrote and legislated in minute detail about the Sacred Liturgy and everything associated with it. 

Figure 2

Vestments of S. Charles Borromeo on display 
in the Basilica of S. Mary's Major, Rome.

Saint Charles laid down regulations about the dimensions of vestments for the Sacred Liturgy because, it would seem, he was concerned that the form of the vestments, which had been handed down for centuries, was being cast aside in favour of something convenient and “fashionable”. The chasuble, derived from the Latin word for “a little house” had been for centuries an ample garment. In the 15th and 16th centuries, there had been significant divergence from this Tradition, however, resulting in a form of chasuble that was not ample, but cut right back so that it comprised a sort of narrow pendant, front and back, on the wearer. We know this form of chasuble as the “Roman” or “fiddleback” chasuble, and some claim that this is the form of the chasuble that is truly “traditional”. But Borromeo did not think that: he thought it represented a break with Tradition. And he specified the minimum size to which he expected chasubles to conform. They were to be at least 51 inches (130cm) wide and, at the back, they were to reach down almost to the heels of the wearer.

So, why was the chasuble drastically modified? Let us answer that question by first tracing the origin and early development of this garment.

Figure 3 

Archbishop Maximian (at right) 

wearing the planeta and pallium.

Church of S' Vitale Ravenna 

6th century.

The ancestor of the chasuble is a Roman garment called the paenula. It was a semi-circular cloak, sewn together down the front and completely covering the arms. It was a garment for everyday wear by the lower classes, but was also worn by the upper classes and by women for travel and in bad weather. From the 5th century, a garment of similar shape but made in richer material was adopted by the Roman upper classes for ceremonial wear and this planeta was the immediate ancestor of our chasuble. Then, from the 9th century, a third name was given to a cloak which was still in the shape of the early paenula, and like it was a protective outer garment for the poor: casula (Latin for “little house”). For a time, the secular and liturgical use of these three similar garments continued side by side. It was the shape of these garments, rather than their use which came to be associated with the liturgical chasuble.

Figure 4

Conical chasuble of S' Vitalis, 11th century. 

A braid covers the seam in the centre 

of the chasuble and reinforces 

the opening of the neckline.

From the 10th century, what we know as the chasuble consisted of a semi-circle of material with the two halves of the straight edge folded together and sewn down the front leaving an opening at the neck. The neck opening was sometimes widened slightly, leaving a short horizontal opening near the top of the centre seam. This shape is referred to as the conical or bell chasuble. It was not until the turn of the 10th and 11th centuries that the chasuble was recognised everywhere as the vestment exclusively to be used for the Mass. But even until well into the 11th century, it continued to be worn by deacons, lectors and acolytes, not exclusively by priests.

It was only from the time of its use exclusive use by the celebrant of the Mass in the 11th century that its decoration became more ornate.

Figure 5

Modern conical chasuble worn
 by an American bishop 
and shewing how this form 

of chasuble folds up on the arms 

of the wearer.

Perhaps three significant reasons brought about a desire to reduce the dimensions of the chasuble. The first was the introduction in the 13th century of the Elevations during the Canon of the Mass. The second was the rise of the private Mass, in other words, a Mass where the celebrant would not be assisted by a deacon and subdeacon (who were to lift and hold back the chasuble at certain points in the Mass to free the arms of the celebrant). Consequently, the celebrant had the need for a greater freedom of movement for his arms and the chasuble was redesigned in order to accommodate that. Additionally, the types of fabrics used for vestments changed from the 13th century and were heavier (often embroidered) and stiffer than the silks and wools used in previous centuries. In short, there were practical reasons to modify the dimensions of the chasuble.

Figure 6 

Chasuble of the 12th century, shewing the first 

modification to the conical or bell shape, 

the length of the shoulder line is reduced and 

the chasuble comes to a point, front and back. 

A modern Italian reproduction 

of the chasuble of S' Bernard of Clairvaux.

How what is modified? Modification happened in stages and not uniformly across the Church in the West. In the first instance, the semi-circular shape of the chasuble was cut back in such a way that the bulk of fabric to be supported on the arms was reduced. Subsequently, shoulder seams were introduced and the length of that seam reduced from the conical form. The chasuble of S’ Thomas Becket is an example of this earliest modification (see figures 6-7). Notice that what had been a bell-shaped garment has become pointed. Once shoulder seams were introduced, it became possible progressively to reduce the length of that seam. The chasuble attributed to Saint Bernard is another example of this modified form.

Figure 7 

16th century chasuble shewing 
the modification to reduce the 
slope of the shoulders and the 

width of the vestment 

compared with 

the earlier conical form.

But the more significant modification to the chasuble was that the angle of the shoulder line was decreased. This measure substantially changed the way the chasuble sat on the celebrant, so that it no longer wrapped around him in folds, like the ancient Roman toga, but instead rested on him somewhat like the modern-day Mexican “poncho” (see figure 7). This measure would have freed the arms of the celebrant significantly. 

Not content with that, however, vestment makers cut back the width of the chasuble more and more. These latter modifications (beginning in Northern Europe in the 15th century), went beyond what was needed to make the chasuble more practical for the celebrant to wear. In the 16th century, Saint Charles, objecting to these extreme modifications, laid down his regulations to remind priests and vestment-makers of the importance of preserving the centuries-old Tradition. It was obviously regarded by S. Charles as most important that the chasuble continue to be a garment that fully covered the celebrant, being both long (reaching almost to the heels) and wide (51 inches, between the elbow and the wrist).

Figure 8

Chasubles of the 16th century. 

 S' Pius V (contemporary of S' Charles 

Borromeo & S' Philip Neri) singing 

Mass in S' Peter's Basilica 

attended by the Papal Court 

(vested variously in chasubles, 

copes and dalmatics). 

 Over the dalmatic and tunic, 

Pope Pius is wearing 

an ample chasuble, together

with the fanon & the pallium.

When “The Borromeon style” of chasuble is referred to, it is important to remember that the cut of chasubles varied and were the work of craftsmen, not mass-manufacturers. We can be rather sure that the vestments used by Saint Charles himself were not all precisely the same in cut. Furthermore, other styles were also prominent in the 16th and 17th centuries. One style we find in the various paintings of Saint Charles’ contemporary, Philip Neri. This chasuble was narrower than the 51 inches set down by S. Charles, but it was still very long. A variant of this “Philip Neri” style of chasuble was found in northern parts of Europe and in England. Yet another form, the Spanish style, is depicted in the famous painting of Saint Idelfonso.

Something might be included here about the ornamentation of chasubles. The early casula and planeta largely lacked any form of ornamentation. Because there was but one seam that formed the garment into its bell shape, that seam (which ran vertically down the front of the chasuble) came to be covered with a narrow braid-like band. In order to strengthen the fabric around the opening for the head, braid was also added. This is the origin – purely practical – of what is referred to as the “tau” style of ornament (“tau” being the letter of the Greek alphabet which corresponds to our “tee”).

Figure 9 

Forms of chasuble ornament. 

A miniature of 1170 shews 

a bishop wearing the pallium 

over his chasuble: a narrow 

golden braid reinforces 

the neckline opening and 

conceals the central seam of

 the chasuble.

It was a logical step from here to find that a corresponding strip of braid was applied to the back of the chasuble (even though it was purely decorative and not supporting seams etc.). The width of these braid-like ornaments came to be increased over the centuries from something that was no more than 3 – 5cm to something that became up to 20cm in width. And, very early on in the development of the chasuble, these strips ceased to be purely functional and became the focus of elaborate ornament and embroidery. 

By the 14th century the chasuble had come to be ornamented in three common forms (with many variations). One is the Y-shaped orphrey (thought to be derived from Roman and Jewish ceremonial garb), which was mainly found in Northern Europe and England. Another is the “tau” shaped orphrey, which was an ornament applied to the front of the chasuble, but with the back of the chasuble ornamented with a simple column. This was the usual Italian or Roman style. The third form consisted of the back being decorated with a Latin Cross. This last style was not so frequently found in Italy, but was very common elsewhere in Europe.

Figure 10  

Forms of chasuble ornament. 

A German chasuble of the 16th century, 

shewing the Crucifixion scene form of orphrey.

In the 17th and particularly from the 18th century, authorised by no Ecclesiastical authority, the form of the chasuble almost universally used was that pendant-like form which we call the “Roman” chasuble. There were only a few voices raised in objection to setting aside the Tradition of the ample chasuble. And then, although it only occurred by degrees and over a period of time, that pendant form of chasuble, which to S. Charles represented such a break with Tradition, became regarded as THE legitimate Tradition. Pause to reflect on this, when you read expressions such as “Traditional Roman vestments” etc. We have the strange situation where the very dimensions of chasuble that Saint Charles strove to preserve, have been described by many latter-day “Traditionalists” as “un-traditional”!

We should also be careful about the use of the term “Roman” vestments. Roman vestments are those used for the Roman Rite: they do not refer to any particular style or shape. The pendant-style chasuble did not have its origin in Rome, but in northern Europe. Rome did not readily adopt it. Saint Charles legislated against it.

Figure 11
An interesting French painting of the 17th century
shewing the procession at a Pontifical Mass.
 The bishop is wearing a chasuble identical
with the cut of the 16th century,
together with a more mediaeval form of mitre.
 Note the small boys, vested in albes assisting as acolytes.

From the 19th century, scholars began promoting a return to the earlier, more ample style of chasuble. We find such chasubles appearing in England and parts of Europe. Sometimes these are referred to as “Gothic” vestments, although it is not certain why. These “Gothic” vestments were similar to the proportions insisted upon by S. Charles. Strangely, Rome (which for two centuries had held out against the introduction of the pendant-like vestments) did not welcome the 19th century interest in reviving these “Gothic” or “Borromeon” chasubles and in 1863 letter warned against the use of vestments that departed from the “received form”.  How short, it would seem, was the Roman memory.  

Figure 12
Gothic Revival Solemn Mass set designed by
AWN Pugin for S. Edmund's College Ware (UK)
Image : LMS Society of Great Britain

Figure 13
A Gothic Revival chasuble of great dignity used
for the Requiem of Cardinal Meisner at the Cathedral
Cologne in 2017.

In December 1925, at a time when vestment-makers in Europe and beyond were creating magnificent chasubles of Borromeon proportions, the Congregation of Rites published a rescript that the more ample form of chasuble was not to be used for the Roman Rite, except by special permission of the Holy See.  What a peculiar decision this was, given that earlier in the same year an Exhibition of the Liturgical Arts had been held in Rome and newly-made vestments, according to the Borromeon proportions, were shown in a special audience with Pius XI, who approved their use and blessed them. A famous photograph exists of Pius XI celebrating Mass in S’ Peter’s in a 16th century style chasuble: some years after his Congregation of Rites had attempted to prohibit their use! 

Figure 14.
 Pope Pius IX in Saint Peter's basilica on S' Joseph's Day 1930.
 He is wearing an embroidered albe and a chasuble made for him
by the Poor Clares of Mazamet, France.
This chasuble is in the Northern European style of the 17th century.

The 1925 letter of the Congregation - which had been widely ignored, especially in Europe - was reversed by a new decision in August 1957, granting Diocesan bishops leave to permit the use of the more ample form of chasuble.  Eight years later (1965), Rome herself followed what was already occurring world-wide. The 18th century style of vestments used in Papal ceremonial was replaced with something very different but austere: somewhat like the ethos of the 1960’s itself. Somebody put to me once that many people were greatly upset and even scandalised when Papal Rome made this change. Consequently, and for precisely this reason, there is a very negative attitude amongst some to modern expressions in the style of vestments. And, to be frank, concerning vestments made from the 1970’s onward, there is ample scope for negativity.

But had 1960’s Rome just invented a new style of vestment and thrown out Tradition? In fact, no. The vestments which emerged in Rome from the mid-1960’s were a modern “take” on the Borromeon form of chasuble (see figures 15-16): this was a return to an earlier tradition. It is a pity that Rome did not take the trouble to make that point very clear.  Comparison of the picture of the Borromeon chasuble in Saint Mary’s Major with chasubles worn by Pope Paul will illustrate this very clearly: the form is almost the same. 

Figures 15-16
A comparison of a contemporary Italian sculpture of S. Philip Neri
by Algardi (LEFT) with a photograph of Pope S. Paul VI
reveals an almost identical cut of chasuble.
S. Philip is depicted wearing a cut of chasuble corresponding
the dimensions of S. Charles Borromeo.
 The photo of Pope Paul was taken in Sydney in 1970.
 

Figure 17
Pope S. John Paul II wearing an Italian chasuble,
being a modern interpretation of the Borromeon form. 

Figure 18
Pope Benedict XVI wearing a magnificent
chasuble of violet and gold damask,
a modern reproduction of the Borromeon form.

If 1960’s Rome had decided to use beautiful and elaborate damasks for the Papal vestments instead of the plainest of silk, perhaps attitudes to the new Papal array might have been different.  For, if anything, the vestments of post-Vatican II Papal Rome have lacked creativity and splendour.  During the later years of the pontificate of Pope S. John Paul II, however,  and frequently during the reign of Pope Benedict,  we observed vestments of greater beauty, made from beautiful damasks and brocades and ornamented in a most artistic manner.  Unhappily this progress towards greater beauty for the Papal vestments has completely disappeared since 2013, along with so much else. 

The above is a revised version of an article first posted on this blog in 2008.



SELECT BIBLIOGRAPHY
This article has attempted to be a comprehensive, but not an in-depth, study of the history of the chasuble. Consider it more as an illustrated lecture than a scholarly treatise. I refer you to these works for more detailed information:

Die liturgische Gewandung im Occident und Orient, Joseph Braun, 1907
The Vestments of the Roman Rite, Adrian Fortescue, 1912
Vestments and Vesture, Dom E Roulin, 1930
The Catholic Encyclopaedia (1911) and The New Catholic Encyclopaedia (1967)
High Fashion in the Church, Pauline Johnstone, 2002
A Dictionary of Liturgy and Worship, 1972.

Pontificals of S. Charles Borromeo

S' Charles Borromeo as
Archbishop of Milan.
A painting of c. 1578.

In the Museum of the Archbishop's Sanctuary of the Beata Vergine dei Miracoli in Corbetta (Archdiocese of Milan) is a little known portrait of S. Charles Borromeo by the artist Lattuado.  It is thought that this portrait - which is about half life-size and housed in an ornate baroque frame - was painted around the year 1578, but certainly during the saint's time as Archbishop of Milan.

Although not a felicitous likeness of Saint Charles, it is a clear depiction of him vested in the pontificals of a late 16th century bishop.  We are pleased to describe this in detail.

S. Charles is shewn wearing a white dalmatic and tunicle beneath his chasuble.  The sleeves of these are long and closed around the arm, where they are ornamented with a narrow golden galloon.

The chasuble is silver in colour, but ornamented with gold embroideries.  A large TAU can be seen on the chasuble, formed from narrow galloons.  The decorative scheme is entirely of stylised scroll-work.

Interestingly, the chasuble itself, reaching only to the elbows, is not as wide as S. Charles had regulated himself for use in the Archdiocese of Milan.  But it is typical of chasubles found in Italy in the 16th century.  Over the chasuble, S. Charles is wearing his pallium as Archbishop of Milan.  It is small in size and shaped so that it sits around the shoulders of the wearer.

S. Charles is wearing a liturgical glove, embroidered in gold with a Cross.  That portion of the glove which extends beyond the hand itself and onto the arm terminates in a small tassel. But otherwise the glove is free of ornament.  In his left hand he is holding a crozier of silver and gold but ornamented quite simply. 

Perhaps the most interesting aspect of this portrait is the mitre worn by S. Charles.  Although the detail of the painting in this reproduction is far from clear,  the mitre is seen to be ornamented with traditional circulus and titulus , with the addition of embroidered medallions on either side.  What is striking is the shape of the mitre, which is quite unlike other examples from the period : indeed, it is quite like our modern mitres in its shape.  Elsewhere in Italy and Europe throughout the 15th and 16th centuries, mitres had become increasingly more lofty, until they reached their most exaggerated and unattractive form in the 17th and 18th centuries.  S. Charles' mitre is in contrast with these excesses and has much more to do with the ancient traditions of the mitre.

Comparing this painting with the image of S. Peter Damian discussed in our previous post, we can see continuity between the early 15th century and the late 16th century, but also several differences.  One difference is the rule that all the vestments were to be of the same liturgical colour - quite unlike the practice beforehand.  The decoration and shape of chasubles, moreover, had changed considerably, chasubles being narrower and less flowing and their ornamentation being more stylised and less pictorial.

Mediaeval Pontificals : Saint Peter Damian

15th century painting of S' Peter Damian.

When looking at mediaeval depictions of bishops or popes vested for Mass, we find certain things in common with the Pontifical vestments of a 21st century Catholic bishop, but some significant differences. The most striking difference is the usual lack of an Episcopal dalmatic amongst the vestments of a modern bishop. Even when a dalmatic is worn, it is usually an affair so non-descript as to be hardly noticeable.

Before Pope S' Paul VI entered Saint Peter's Basilica to celebrate Mass solemnly in 1965, bishops or popes had - since the earliest centuries of the Church (certainly since the Constantinian period) - worn a dalmatic underneath the chasuble. *   Paul VI was the first to break this tradition, when he appeared in a flowing chasuble, with no dalmatic beneath. As a matter of fact, until the end of his Pontificate in 1978, typically he left aside the use of the dalmatic. His successors, John Paul I, S. John Paul II and Francis all likewise have left aside the dalmatic. Benedict XVI was an happy exception to this, adopting quite early on in his Pontificate the use of the dalmatic beneath the chasuble on all solemn occasions.

The pity of this is that the dalmatic worn with the chasuble symbolised the fullness of Holy Orders enjoyed by a bishop. A bishop is incompletely vested if he lacks the dalmatic. The claim that it is too burdensome to wear a dalmatic beneath the chasuble is, to say the least, pitiful.

In this post, we look at a painting which once formed part of altarpiece from Faenza in Italy of the early 15th century, which depicts Saint Peter Damian. The artist Peruccino - who was known as the Master of Saint Peter Damian - prepared this likeness from the effigy on the sarcophagus of the saint.

The saint is depicted wearing a style of vestments commonly known in 14th and 15th century Italy; namely : a flowing linen albe which is unadorned with either apparels or embroidery; a red semi-conical chasuble whose Tau ornament is formed from embroidered cameos of the saints and upon his head a precious mitre of white silk ornamented and embroidered with goldwork and precious stones.

We also see the Episcopal dalmatic (the tunic can also just be seen). It is immediately noticeable how elaborate the dalmatic is : not a plain affair of simple silk. It is made from a rich damask of deep green ornamented with gold embroidery and outlined with gold braid. One could be forgiven for observing that the dalmatic has a richer appearance than the chasuble itself. But certainly the dalmatic enriches the appearance of the wearer and is not intended to be invisible.

Imagine how dignified a modern bishop would look if he were to wear a dalmatic of such nobility beneath his chasuble? One can but hope.

* In addition, a bishop would also wear a tunic, being the vestment of the subdeacon, but this requirement for the celebration of the Ordinary Form of the Roman Rite lapsed when the subdiaconate was abolished as a Major Order in 1973. 

Papal Liturgies of the Sixteenth Century

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

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

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

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

A detail of Vasari's 16th century fresco.

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

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

Another detail of Vasari's fresco.

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

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

Although the scene depicted by Vasari is probably not very accurate as a presentation of a Papal Liturgy, nevertheless it undoubtedly depicts the style of vestments used throughout Italy in the 16th century. Those who believe lace albes, 18 inch tall mitres and "fiddleback" chasubles are the touchstone of Tradition would do well to examine such works of art as this to gain a broader appreciation of tradition.

Click on the images for an enlarged view.