A Precious Mitre

Not seen so regularly on the Studio blog are episcopal mitres, although we usually make a few of these each year.

In this post, we feature a precious mitre made for an Australian bishop.  A precious mitre may be more or less ornate and is distinct from the simple mitre of white linen.

This mitre is in the Gothic style and features a golden metallic brocade, with small woven Crosses arranged geometrically.  The lining of the mitre - part of which can be seen in the images - is formed from crimson-coloured silk, creating a rich contrast.

Click on the images for an enlarged view. 

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

The ornament of this mitre is arranged in the bandings referred to as circulus (because it encircles the head) and titulus.  In this case, these bandings are formed from the layering of two braids, both metallic, in gold and red.

The lappets, or tails of the mitre are made and ornamented in the same manner.

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

The custom mitres produced by the Saint Bede Studio are almost entirely hand-made.  Great care is taken with the design of the mitre to provide a comfortable fit and good proportions.  They are always provided with a sturdy cloth bag to keep them clean and secure.

Are you interested in presenting a mitre to your bishop?  If so, please contact us to discuss possibilities.

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

Festal Mitre

During this holy Octave of Christmas, the Saint Bede Studio is pleased to present a set of Festal vestments and a mitre completed for an esteemed customer, an Australian bishop. 

We turn our attention to the mitre in this post.

This elegant but simple mitre is derived from the common form of mediaeval mitre, which were ornamented with braid or embroidery around the crown of the head and a corresponding ornament running up the centre towards the pointed top of the mitre.  These ornaments are called, respectively, circulus and titulus.

The principal fabric of the mitre was formed from a silk brocade in the colours of ivory and muted gold. The lining was formed from silk taffeta in a shade of crimson red.  

The braid forming the decoration of this mitre is a burgundy in colour, but its floriated mediaeval ornament is picked out in straw-gold. 

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

Festal vestments and mitre

In this post, we feature a chasuble and mitre set recently made for the newly-appointed Bishop of Maitland & Newcastle (Province of Sydney, Australia).

The chasuble was made from moiré taffeta, which is noteworthy for its vertical watermark effect, created during manufacture.  It is a fabric which is not too flimsy and has pleasing drapery.  Ornamenting the chasuble, back and front, is a column formed from straw-gold dupion silk, upon which is imposed one of the Studio's unique braids Saint Edmund.

The mitre has the same decorative scheme, but its ornamented is formed from a much narrower version of the Saint Edmund braid.

Please 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

In Memory Cardinal George Pell

Yesterday, the Feast of the Presentation of the Lord, His late Eminence, Cardinal Pell was laid to rest in the crypt of Saint Mary's Cathedral, Sydney, near to all his predecessors going back to the foundation of the Church in Australia in 1820.  As an historian by discipline, he would relish the company he now keeps in death.

It is a sad fact that the Cardinal was a man much-hated in his native Australia, thanks to years and years of unrelenting detraction from the Australian media and liberal elements within the Church.  He was also greatly admired and regarded as a hero by Faithful Catholics from the time of his appointment as a bishop in 1987.  In Australia, he subsequently became Archbishop of Melbourne and then Archbishop of Sydney before accepting a role within the Roman Curia to tidy-up financial affairs.

The late Cardinal had a great vision for the Church in Australia, once commenting that he intended to work to avoid the worst possible outcome : namely, the Church in Australia following the lead of the Church in Holland.  As Archbishop of Melbourne and then Archbishop of Sydney his steadily put into place his broad and deep vision for a revitalised, faithful, well-educated and apostolic Australian Church.  It will take a further twenty years for his vision to be entirely realised, in God's Providence.

Throughout his years of leadership his work was thwarted by the hatred of a certain element of Australian society, who wished to present themselves as champions of justice.  This culminated in the shameful moment when a Prince of the Church was falsely accused, convicted and gaoled in his own land.  How could any Catholic reflect on these facts and not feel the deepest shame?  These trials compromised the health of the Cardinal, and he has died prematurely for a man of such renowned vigour.  

We lament his loss, pray for his soul and thank God for his good, faithful work and for the wonderful example of his courage and integrity in the midst of persecution.

Eternal rest grant unto him, O Lord, with your saints forever; for you are merciful.

 

In Memory Benedict XVI : 22

Concluding our posts in this series in tribute to our late beloved Benedict XVI, of happy memory and on the 30th day following his death, I wish to write about my one and only encounter with Pope Benedict, which took place in Sydney Australia in July of 2008.

In March of that year, the Saint Bede Studio was contacted by the Archdiocese of Sydney with a request to submit designs for sets of vestments for the Papal Mass in Saint Mary’s Cathedral, Sydney, which was to be held on Saturday, 19th July, as part of World Youth Day.  A chasuble and stole, Pontifical dalmatic and mitre were to be prepared for the Pope’s use, in addition to three dalmatics for the deacons assisting the Pope at the Mass.

Design for the Papal Vestments

Designs were prepared for vestments decorated in three different styles: the Gothic Revival; Carolingian; and according to the traditions of Rome. These designs were then submitted by the Archdiocese of Sydney to then Prefect of Pontifical Ceremonies, Monsignor Guido Marini, who selected the design for vestments ornamented in the Roman style.  The adjacent image depicts the design chosen by the authorities in Sydney and Rome.  At the time they were drawn up, Pope Benedict was still using the ferula of S. John Paul II and the form of primitive pallium imposed on him at the beginning of his Pontificate in 2005.  He did not use either during his trip to Sydney.

In preparing the design, certain considerations were deemed important. First, that the vestments be beautiful and dignified, as is fitting for vestments used by the Pope. Second, that the vestments be convenient for the use. Lastly, that the vestments be visually related to Roman traditions for ornamenting sacred vestments.

S' Martin.

The design for the chasuble was inspired by a 16th century Saragossan painting of Saint Martin of Tours. But the semi-conical shape of that chasuble was changed to accord more with the shape and dimensions set down in the same century by Saint Charles Borromeo; this would be more convenient for the use of Pope Benedict.

The fabric for these vestments was a magnificent silk damask silver and gold in colour, which was figured with embroidery in the Italianate style of 18th century. The front of the chasuble is decorated with the “tau”: an ornament in continual use in Rome for almost 1000 years. The ornament of the chasuble, Pontifical dalmatic and dalmatics of the three deacons was in a straw-coloured silk damask, trimmed with a 2cm wide quatrefoil braid of red and gold, especially designed by the Saint Bede Studio. All the vestments were lined in crimson-red silk and bear the Papal coat of arms.  An adjustment to the design occurred by way of enrichment.  The tau at the front and column at the back had embroidered medallions added to them, to give the chasuble a more three-dimensional effect.

Mitre of S' Thomas.

The mitre for Pope Benedict's use was made from cloth gold upon which was embroidered mediaeval scrollwork in gold, silver and crimson thread. These embroideries were derived from the historic mitre of Saint Thomas Becket (12th century) kept at the Sens Cathedral. The lappets of this mitre are also embroidered with scrollwork and bear the Papal coat of arms. The embroidery of the mitre was carried out in Australia.

Below are images of all the vestments taken in the course of their manufacture.

Constructing the mitre.

The completed mitre.

Completed mitre shewing lappets.

Detail of the mitre lappet
depicting the coat of arms of
Benedict XVI.

The Papal stole.

The Papal tunicle.

Sewing the Papal chasuble.

The completed Papal chasuble.

Dalmatics for the deacons-assistant.

It was a tremendous and unexpected privilege to make these vestments for the use of Pope Benedict.  It was a project with its ups and downs but, protected by the Divine Hand, it was possible to bring it to a happy conclusion. There were also human agents whose generous assistance enabled this project to be completed in time for the Papal visit.

Ut in omnibus Deus glorificetur!

A concluding post will describe my experiences at Saint Mary's Cathedral Sydney during the Papal visit.

In memory Benedict XVI : 19

In Saint Mary’s Cathedral, Sydney, on Saturday 19th July 2008, Pope Benedict celebrated Pontifical Mass with the Australian Bishops for seminarians and religious novices.  This was part of the Pope's three-day visit to Australia on the occasion of World Youth Day.

In this and following posts, the Studio is pleased to reproduce a number of photographs take by L'Osservatore Romano, most of which have not been published anywhere else.  Please note that these photographs are under the copyright of L'Osservatore Romano and not to be reproduced.

The vestments and mitre worn by Pope Benedict for this Papal Mass, together with the dalmatics of the deacons-assistant were designed and made by the Saint Bede Studio, by the commission of the Archdiocese of Sydney and the Holy See.

The story of how the Saint Bede Studio came to receive and carry out this commission will be described in a further post.

Click on the images for an enlarged view.

Pope Benedict leaves the Cathedral Sacristy
flanked by the deacons-assistant
Revd Messrs Higgins (left) and Benton (right).

Pope Benedict seated in the cathedra of 
Saint Mary's Cathedral
listening to an Address of Welcome by a Religious sister.

Pope Benedict is greeted by a Religious Sister
after an Address of Welcome.

Pope Benedict is greeted by a Religious Sister
after an Address of Welcome.

Pope Benedict blessing incense before the
chanting of the Holy Gospel.

Pope Benedict XVI listening to the chanting of the Holy Gospel.
He holds the Papal Ferula or staff of Pope Pius IX.

The Holy Gospel chanted from the pulpit of the Cathedral
by the Revd Mr James McCarthy.

Further posts about this special occasion to follow.

AMDG.

Precious Mitre

Earlier this year, the Saint Bede Studio completed a precious mitre for a bishop in the United States.  The mitre was made from a magnificent brocade in colours of old gold and deep red with figured ornament of brighter gold metallic thread.  The mitre was lined in dupion silk in a subdued shade of gold.  The brocade being so decorative, a simple braid was used to form the circulus and titulus ornament.

Please click on the image for a larger view.

Mitre in honour of BVM

Recently, the Saint Bede Studio completed a mitre for an esteemed customer, being intended as a gift for a bishop in New Jersey (USA).

The mitre was made from a white jacquard with small woven fleur-de-lis and ornamented with dupion silk in a lovely shade of blue.  The circulus and titulus of the mitre were formed from this dupion silk and a golden galloon.  The lining of the mitre and of the lappets were also made from the same dupion silk.

Click on the images for an enlarged view.

Bishop Athanasius Scheider

The Bishop imposing hands on the Ordinand.
Image : The New Liturgical Movement.

During a visit to Australia in July 2015, the Saint Bede Studio had the privilege to make and present a cloth-gold mitre to Bishop Athanasius Schneider of Kazakhstan, an heroic Apostle and worthy bishop.  The mitre was especially made for the Bishop's convenience in his travels.

These photographs were taken at the Ordination and First Holy Mass of the Reverend William Rock, of the Priestly Fraternity of Saint Peter.  These rites were held in the beautiful church of Saint Mary in Providence (Rhode Island USA).  The photographs were taken by Claire Gruneberg and Tony Beretto and were found at the blog The New Liturgical Movement.

Please note that the vestments depicted were not made by the Saint Bede Studio.

Click on the images for an enlarged view.

The Bishop anointing the hands of the Ordinand.
Image : The New Liturgical Movement.

The Bishop blessings the sacred vessels of the ordinand.
Image : The New Liturgical Movement.

Penitential Vestments in Art

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 another 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.

Mediaeval Pontificals : 2

The above painting of Saint Nicholas of Myra was painted by the Florentine artist Pacino di Bonaguida, who worked at the beginning of the Fourteenth century (1302 to before 1340).

The website of the J Paul Getty Museum (Los Angeles) tells us that twentieth-century scholars reconstructed Pacino da Bonaguida's career, based upon his only known signed painting: an altarpiece in the Accademia Gallery in Florence. Pacino spent his entire career in Florence, where, in addition to altarpieces, he painted miniatures and decorations for illuminated manuscripts. He is considered the inventor of miniaturism, a style distinguished by a clear organisation of the painting surface into multiple small-scale scenes.

This work, which is painted in an iconographic style, depicts Saint Nicholas as a bishop of the the early Fourteenth century. Visible in the painting are the bishop's chasuble, amice apparel, a liturgical book, gloves, ring, crosier and mitre.

The condition of the above reproduction of Pacino's painting being what it is, it is not possible to determine precisely the colour of the chasuble. Certainly its lining is black, so we are inclined to think this semi-conical chasuble is of black damask, figured with gold quatrefoils. The fabric may, however, be a very dark green. The ornament of the chasuble is quite interesting, since it is a very early example of a woven braid, or at least is depicted as such. We can tell this since at the intersection point of the TAU piece (which rests upon the chest) the designs can be seen quite clearly to be disappearing beneath the horizontal ornament. Were the entire orphrey embroidered, such an arrangement would be avoided. The woven braid itself consists of geometrical patterns, rather than religious figures, and these designs are presented in colours of red, black and gold on a neutral background.

This early example of the TAU ornament is interesting also since it is really in the shape of a Cross " t " rather than " T ". Unlike the presentation of the TAU in later centuries, this decoration has a very short horizontal band. Sitting around the neckline is an amice apparel which, although of a different design, is woven in similar colours to the chasuble orphrey.

The white Episcopal gloves being worn by Saint Nicholas appear to be embroidered with a coat of arms. In his right hand, the Saint is depicted holding a liturgical book, whether it be an Evangelarium or a Sacramentary is unable to be determined.

Upon his head, Saint Nicholas is shewn to be wearing a precious mitre in the early mediaeval style. It is of white linen or silk and is ornamented in the usual style with the circulus and titulus bands.  These are of embroidered geometric designs upon a gold background.

Click on the image for an enlarged view.

Mediaeval Pontificals : 2

The above painting of Saint Nicholas of Myra was painted by the Florentine artist Pacino di Bonaguida, who worked at the beginning of the Fourteenth century (1302 to before 1340).

The website of the J Paul Getty Museum (Los Angeles) tells us that twentieth-century scholars reconstructed Pacino da Bonaguida's career, based upon his only known signed painting: an altarpiece in the Accademia Gallery in Florence. Pacino spent his entire career in Florence, where, in addition to altarpieces, he painted miniatures and decorations for illuminated manuscripts. He is considered the inventor of miniaturism, a style distinguished by a clear organisation of the painting surface into multiple small-scale scenes.

This work, which is painted in an iconographic style, depicts Saint Nicholas as a bishop of the the early Fourteenth century. Visible in the painting are the bishop's chasuble, amice apparel, a liturgical book, gloves, ring, crosier and mitre.

The condition of the above reproduction of Pacino's painting being what it is, it is not possible to determine precisely the colour of the chasuble. Certainly its lining is black, so we are inclined to think this semi-conical chasuble is of black damask, figured with gold quatrefoils. The fabric may, however, be a very dark green. The ornament of the chasuble is quite interesting, since it is a very early example of a woven braid, or at least is depicted as such. We can tell this since at the intersection point of the TAU piece (which rests upon the chest) the designs can be seen quite clearly to be disappearing beneath the horizontal ornament. Were the entire orphrey embroidered, such an arrangement would be avoided. The woven braid itself consists of geometrical patterns, rather than religious figures, and these designs are presented in colours of red, black and gold on a neutral background.

This early example of the TAU ornament is interesting also since it is really in the shape of a Cross " t " rather than " T ". Unlike the presentation of the TAU in later centuries, this decoration has a very short horizontal band. Sitting around the neckline is an amice apparel which, although of a different design, is woven in similar colours to the chasuble orphrey.

The white Episcopal gloves being worn by Saint Nicholas appear to be embroidered with a coat of arms. In his right hand, the Saint is depicted holding a liturgical book, whether it be an Evangelarium or a Sacramentary is unable to be determined.

Upon his head, Saint Nicholas is shewn to be wearing a precious mitre in the early mediaeval style. It is of white linen or silk and is ornamented in the usual style with the circulus and titulus bands.  These are of embroidered geometric designs upon a gold background.

Click on the image for an enlarged view.

Mediaeval Pontificals

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 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 left aside the use of the dalmatic. His successors, John Paul I, John Paul II and Francis all likewise have left aside the dalmatic. Benedict XVI was a 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. 

Mitres for Australian Bishops

Recently, the Saint Bede Studio has completed mitres for three Australian bishops.

At left is shewn a mitre of 15th century proportions, made from an English ecclesiastical brocade and which is ornamented with a braid designed by AWN Pugin. This mitre was lined in dupion silk of a deep purple colour.

Below is a less ornate mitre, made in the proportions of the 13th century. This mitre is made from linen and is ornamented with a braid of the Studio's own design, but based upon actual mediaeval ornament. The lining of this mitre is of dupion silk, in a very subdued shade of green.

The mitre below is a more contemporary style, made from silk damask of ivory and straw colour and ornamented with a familiar commercial braid. The mitre is lined in dupion silk in a shade of deep red.

Enquiries : stbede62@gmail.com

Pontificalia of the Fourteenth Century

The above painting of Saint Nicholas of Myra was painted by the Florentine artist Pacino di Bonaguida, who worked at the beginning of the Fourteenth century (1302 to before 1340).

The website of the J Paul Getty Museum (Los Angeles) tells us that twentieth-century scholars reconstructed Pacino da Bonaguida's career, based upon his only known signed painting: an altarpiece in the Accademia Gallery in Florence. Pacino spent his entire career in Florence, where, in addition to altarpieces, he painted miniatures and decorations for illuminated manuscripts. He is considered the inventor of miniaturism, a style distinguished by a clear organisation of the painting surface into multiple small-scale scenes.

This work, which is painted in an iconographic style, depicts Saint Nicholas as a bishop of the the early Fourteenth century. Visible in the painting are the bishop's chasuble, amice apparel, a liturgical book, gloves, ring, crosier and mitre.

The condition of the above reproduction of Pacino's painting being what it is, it is not possible to determine precisely the colour of the chasuble. Certainly its lining is black, so we are inclined to think this semi-conical chasuble is of black damask, figured with gold quatrefoils. The fabric may, however, be a very dark green. The ornament of the chasuble is quite interesting, since it is a very early example of a woven braid, or at least is depicted as such. We can tell this since at the intersection point of the TAU piece (which rests upon the chest) the designs can be seen quite clearly to be disappearing beneath the horizontal ornament. Were the entire orphrey embroidered, such an arrangement would be avoided. The woven braid itself consists of geometrical patterns, rather than religious figures, and these designs are presented in colours of red, black and gold on a neutral background.

This early example of the TAU ornament is interesting also since it is really in the shape of a Cross " t " rather than " T ". Unlike the presentation of the TAU in later centuries, this decoration has a very short horizontal band. Sitting around the neckline is an amice apparel which, although of a different design, is woven in similar colours to the chasuble orphrey.

The white Episcopal gloves being worn by Saint Nicholas appear to be embroidered with a coat of arms. In his right hand, the Saint is depicted holding a liturgical book, whether it be an Evangelarium or a Sacramentary is unable to be determined.

Upon his head, Saint Nicholas is shewn to be wearing a precious mitre in the eary mediaeval style. It is of white linen or silk and is ornamented in the usual style with the circulus and titulus bands.  These are of embroidered geometric designs upon a gold background.

Click on the image for an enlarged view.

Simplex Mitre

Recently the Studio completed a simplex mitre for an Australian prelate. This mitre, in the style of the 15th century, in 27.5cm (11 inches) tall and is made from linen. Formerly, two types of the simplex mitre were used by bishops: one made of silk and and one made of linen. These distinctions having been dispensed with, it is now even found that the simplex mitre is made from synthetic materials.

The simplex mitre is worn on the following occasions: in Liturgies of the Dead; on Good Friday; on Ash Wednesday; during Rogation Processions and when a bishop is amongst concelebrants at Mass. The simplex mitre of a Cardinal is made from silk damask rather than linen, and that of the Pope made from cloth silver, edged in gold braid.

Enquiries: stbede62@gmail.com

Papal Retrospective: Paul VI : 5

Figure 1 : Pope Paul wearing The Four Evangelists mitre.

One of the admirable pieces of Liturgical art produced during the reign of Pope Paul VI was the well-known mitre shewn in the above photograph. This mitre was especially designed and made for Pope Paul by artisans in the Archdiocese of Milan. Ornamented with embroideries of the Four Evangelists, the mitre is also remarkable for its couched gold thread, running in parallel circles (you can see this in the photograph below). The highest workmanship is evident in this mitre and it is of excellent proportion.

In fact, there were several such mitres. One had silver ornament, the other gold. One was left in Australia after the Papal Visit of 1970: that particular mitre is shewn in the photograph below.

Figure 2 : Pope Paul in S' Mary's Cathedral, Sydney, November 1970.

After 1966, Pope Paul usually wore this mitre, such that it became identifiable with him. There was, however, an earlier iteration of this mitre, which was used by Pope Paul on his famous visit to New York in 1965. It is shewn below. The emblems of the Four Evangelists are less elaborately worked on the earlier version.

Figure 3 : Pope Paul during the Papal Visit to New York, 1965.

In 1965, Pope Paul introduced a Pastoral Staff for the celebration of the Papal Liturgies. It is a well-known staff, which came to be used by the Blessed John Paul II throughout his Pontificate and, for a short time, by Pope Benedict. Looking at the three photographs above, something else is noticeable. Each of the Pastoral Staffs being used is different, although stylistically similar. Yet another staff is shewn in the photograph below, which was the one subsequently used by Pope John Paul II.

Figure 4 : Pope Paul pictured in 1978.

The Four Evangelists mitre had a predecessor which was used briefly by Pope Paul during the years 1965 -1967 and which is sometimes referred to as The Vatican Two mitre.  It was shewn in our previous post on Pope Paul, but some images of it are reproduced below.

Figure 5 : At the close of the Second Vatican Council, 1965.

Figure 6 : In S' Peter's, 1965.

It is likely that information exists somewhere as to the origins of the design of this mitre.  This much can be claimed: it certainly was intended as some sort of alternative to the triple tiara of Pope Paul VI, which he gave away as alms for the poor.  It has also been suggested that it may represent the triple-barred Cross often associated with the Papacy.  Such Crosses actually do exist in the Vatican (not just in the hands of a statue).  The decoration of this mitre features four lyrebirds around the crown section.

Figure 7 : Triple tiara of Pope Paul VI.

Something more may be written about this, which is subject to verification. An author in the field of Ecclesiastical heraldry and protocol, Dr James-Charles Noonan claimed in an interview in 2005 that The Vatican Two mitre (which ceased being used in 1967) was bequeathed by Pope Paul to Josef Cardinal Ratzinger, who possesses it to this day.  Dr Noonan claimed that The Vatican Two mitre was the direct inspiration for the Coat of Arms of Pope Benedict XVI (shewn below).  If this is true, then it seems rather odd that of all the many mitres worn by Pope Benedict during his Pontificate the two he NEVER wore were The Four Evangelists mitre and The Vatican Two mitre.  We can only assume that it was the choice of the Pope not to do so.

Figure 8 : Coat of Arms of Pope Benedict XVI.
We may be grateful that no attempt was made by
Pope Benedict to wear a mitre which resembled the one depicted on his Arms.