Saturday, 25 December 2010
Christmas Greetings
Monday, 20 December 2010
Borromeon Form arrives in New Zealand
Recently I had the pleasure of meeting a young priest from New Zealand and shewing him those styles of chasuble which have become known as the S' Philip Neri and Borromeon forms. These are interpretations by the Saint Bede Studio of chasubles used in the 16th century, based on works of art and surviving chasubles from the period.
The young priest was quite enthusiastic about these styles, not least so because of their being so convenient to wear. Adjacent is a photograph of the Borromeon chasuble chosen by the priest, which he now uses in his parish in New Zealand.
We can't claim that it is the first chasuble of the revived Borromeon form in New Zealand, but it is certainly amongst the first, "for nothing is impossible to God".
Enquiries: stbede62@gmail.com
Click on the image for an enlarged view.
A modern interpretation of the ancient chasuble
Shewn in the adjacent photograph is the Saint Bede Studio's alternative to the contemporary chasuble. This vestment, which we call The Saint Martin chasuble is quite long and wide, reaching beyond the wrists of the wearer. In developing this design, the Studio wished to present a more modern "feel" of chasuble but with the ancient decoration of the Tau, used in Rome for more than a millenium.
These vestments, prepared for an Australian priest presently studying in Rome, are made from dupion silk and ornamented with an ecclesiatical brocade in wine-red and gold. The vestments are fully lined, yet not unduly heavy.
Enquiries: stbede62@gmail.com
Click on the image for an enlarged view.
Thursday, 9 December 2010
Rosa Mystica
A priest resident in Germany, commissioned the Studio to make a vestment for use on Gaudete Sunday. The Rosa Mystica chasuble, shewn adjacent, will be used in the venerable Cathedral Parish of Frankfurt-am-Main. The chasuble is made from a damask, ornamented with a Gothic foliage braid, and lined in grey cotton.
Click on the image for an enlarged view.
Enquiries: stbede62@gmail.com
Monday, 6 December 2010
On the Immaculate Conception BVM
A young priest in the United States commissioned the Studio to make a set of vestments in the "Borromeon" form, to be used for feasts of the Blessed Virgin. The result is shewn adjacent. This design we have named Regina Coeli.
These vestments are made from a white brocade which features a stylised fleur-de-lis in the form of a Cross. The ornament is formed from a blue and silver damask, outlined with a silver-coloured narrow galloon. The chasuble is lined in peacock-blue dupion silk.
These vestments are made from a white brocade which features a stylised fleur-de-lis in the form of a Cross. The ornament is formed from a blue and silver damask, outlined with a silver-coloured narrow galloon. The chasuble is lined in peacock-blue dupion silk.
The vestments will be used for the first time on the Solemnity of the Immaculate Conception. Our priest-customer, for whom we had made vestments previously, contacted us about this vestment:
I would like to take a moment to thank Michael for the truly amazing craftsmanship which goes into each of his vestments. I am currently in the process of trying to reinvigorate the Liturgy at my Parish, to bring back that sense of beauty and awe which many Catholics have unfortunately lost even when they stand in the presence of Jesus Christ Himself. Michael's vestments have added immensely to this undertaking. Comments on these pieces of liturgical art have been completely unexpected, with one parishioner actually stating that seeing the priest in such beautiful vestments allowed them for the first time to have an understanding of priest "in persona Christi" as Christ the King. This particular set of BVM vestments is truly resplendent. It was my honor to celebrate the Sacred Mass in them in honor of Mary our Mother. Make no mistake, beautiful vestments do not make the Mass! Nor should they just be done for "show" or "appearance." However, in my experience they benefit the People of God and allow them to better understand that they stand with the angels and Saints worshipping God every time they pray the Holy Mass.
Click on the picture for an enlarged view.
Enquiries: stbede62@gmail.com
Sunday, 5 December 2010
What colour vestments should be worn during Advent?
I often read here and there vigorous assertions about the "correct" colour of vestments to be used during Lent and Advent. Curious as to the history of these colours in Liturgical use, I researched and posted an article a few years ago on this Blog about use of penitential colours for the Seasons of Advent, Lent &c. If you have wondered what colour the Church recommends for these Seasons, you will find the article illuminating. That post may be read here and here, so I don't intend to rehearse its findings.
Instead, always most interesting, an historic work of art to illustrate the practice of our forebears. This work (adjacent) was painted by an artist known as the Master of Osservanza in the year 1440 and depicts a Low Mass being offered at a side chapel in the Siena Cathedral (Italy).
Some observations. The chasuble being worn by the celebrant is violet: in other words, much the same colour as the flower "violets". It is a blue-ish colour, not purple and it is not too dark either. The chasuble is the full conical shape and is ornamented with a simple column-orphrey of dark fabric (possibly even black). Most likely, the front of the chasuble would have been decorated with the familiar "tau". The celebrant is wearing decorative apparels on his alb and amice, which match the colour of the chasuble's ornament. That is a very typical practice of the Mediaeval period. Note, too, the very full folds of the alb.
We see, also, that the boy assisting the celebrant is wearing a full-length surplice, according to the style typically found in Renaissance Italy. Those who claim that such surplices are "Church of England" practice should note this well.
Lastly, the altar itself. It is clothed in a dark antependium or altar frontal, ornamented with scarlet red. On the altar is a Crucifix and a single candle. Although it may seem peculiar that there is but a single candle instead of a pair, it might be remarked that not until the 16th century was it a usual practice to have a pair of candlesticks on an altar.
Lastly, the altar itself. It is clothed in a dark antependium or altar frontal, ornamented with scarlet red. On the altar is a Crucifix and a single candle. Although it may seem peculiar that there is but a single candle instead of a pair, it might be remarked that not until the 16th century was it a usual practice to have a pair of candlesticks on an altar.
Click on the image for an enlarged view.
Friday, 5 November 2010
The ancient form of chasuble
For readers who may be unfamiliar with this style, the shape of a conical chasuble is very similar to that of a bell. Consequently, in order for the wearer to use his arms, the conical chasuble must be pulled up at the sides and the fabric allowed to rest in the small of the arms. When this happens, the vestment folds upward from the bottom in a manner quite distinctive. Many illustrations, statues and monuments from late Antiquity to the Middle Ages regularly show vestments with precisely these folds.
The conical chasuble is the most ancient form of Mass vestment, dating back to the earliest days of Christianity. It continued to be the usual form for the chasuble until the late Middle Ages, when various modifications to the shape began to take place.
For a history of the chasuble, go here.
A conical chasuble is not for celebrants who like to wave their arms around a lot, but it is quite manageable if the arms always remain extended or joined. Unlike the more commonly-found chasubles, the conical chasuble must be tailored to the shape of the wearer's shoulders, otherwise it fits very ill.
Click on the image for an enlarged view.
Enquiries: stbede62@gmail.com
Thursday, 4 November 2010
Feast of S' Charles Borromeo
Please click on the image for an enlarged view.
Enquiries: stbede62@gmail.com
Tuesday, 26 October 2010
Redecoration of a Melbourne church
Recently we learned of the appointment of Father Anthony Denton as Rector of the new Domus Australiae in Rome. Father Denton, a Friend of the Saint Bede Studio, is a priest of the Archdiocese of Melbourne and is undertaking doctoral studies in Rome.
Before commencing his studies, Father Denton had been Parish Priest of East Thornbury (Archdiocese of Melbourne) and had approached the Studio in January 2009 to design some modest improvements to the aesthetics and liturgical arrangements of the Parish Church, within the constraints of a very small budget.
Built in the 1960's, the East Thornbury church cannot be said to embrace any particular architectural style. The building is rectangular, wide, the ceiling is rather low; the interior walls partly rendered and painted, partly exposed brick. The sanctuary is part of the main structure, rather than a separate space, although well-elevated on steps. Visually, the principal difficulty was that the sanctuary appeared a small and ill-defined area within a much larger space and not the focal point it might be. The original timber High altar had been dismantled, but its components re-used.
The following is a list of the changes that were recommended and carried out in the redecoration:
Reconfiguration of reredos
A new treatment of the reredos was crucial to the success of the work to enhance the church visually. A brick reredos, painted a subdued yellow, was located in a slightly-recessed wall. The recessed wall was painted anew in a burgundy colour, whilst the reredos was changed from yellow to an ivory colour; this ivory colour was also used for the repainting of the sanctuary walls. Flanking the recessed wall, decorative work was carried out along the full height of the sanctuary wall, and framed by a new structure of timber. This work effectively expanded the width of the reredos and made it appear more three-dimensional. A timber panelwork dado - a remnant of the removed High altar - was modified, reducing its ungainly width to correspond to the width of the altar. Lastly, a peculiar arrangement whereby the tabernacle was embedded into the brick reredos at the foot of the prominent Crucifix was changed by lowering the tabernacle to be contiguous with the panelwork.
Creation of a predella and re-siting of altar
A partial reinstatement of the High altar timber predella (altar step) took place on which the altar was placed. Carpet was removed from this section of the sanctuary floor and parquetry was installed. The altar was re-sited to be directly beneath the tester or canopy which was part of the original High altar arrangements. This allowed the altar to be illuminated by lights in the canopy.
Repainting of sanctuary walls
A feature wall running the full-length of the building was of untreated brick. In association with the installation of timber posts to demark the sanctuary visually from the nave, the sanctuary section of that feature wall was painted ivory-white, along with the adjacent sanctuary walls.
Summary
In making recommendations for the redecoration of Holy Spirit Church, Thornbury East, the Saint Bede Studio made no attempt to impose a pseudo-Classical or pseudo-Gothic makeover. Instead, a simple treatment which enhanced the liturgical appointments of the building was successfully carried out. The two photographs above, shewing before and after, illustrate everything described above.
Before commencing his studies, Father Denton had been Parish Priest of East Thornbury (Archdiocese of Melbourne) and had approached the Studio in January 2009 to design some modest improvements to the aesthetics and liturgical arrangements of the Parish Church, within the constraints of a very small budget.
Before
After
Built in the 1960's, the East Thornbury church cannot be said to embrace any particular architectural style. The building is rectangular, wide, the ceiling is rather low; the interior walls partly rendered and painted, partly exposed brick. The sanctuary is part of the main structure, rather than a separate space, although well-elevated on steps. Visually, the principal difficulty was that the sanctuary appeared a small and ill-defined area within a much larger space and not the focal point it might be. The original timber High altar had been dismantled, but its components re-used.
The following is a list of the changes that were recommended and carried out in the redecoration:
Reconfiguration of reredos
A new treatment of the reredos was crucial to the success of the work to enhance the church visually. A brick reredos, painted a subdued yellow, was located in a slightly-recessed wall. The recessed wall was painted anew in a burgundy colour, whilst the reredos was changed from yellow to an ivory colour; this ivory colour was also used for the repainting of the sanctuary walls. Flanking the recessed wall, decorative work was carried out along the full height of the sanctuary wall, and framed by a new structure of timber. This work effectively expanded the width of the reredos and made it appear more three-dimensional. A timber panelwork dado - a remnant of the removed High altar - was modified, reducing its ungainly width to correspond to the width of the altar. Lastly, a peculiar arrangement whereby the tabernacle was embedded into the brick reredos at the foot of the prominent Crucifix was changed by lowering the tabernacle to be contiguous with the panelwork.
Creation of a predella and re-siting of altar
A partial reinstatement of the High altar timber predella (altar step) took place on which the altar was placed. Carpet was removed from this section of the sanctuary floor and parquetry was installed. The altar was re-sited to be directly beneath the tester or canopy which was part of the original High altar arrangements. This allowed the altar to be illuminated by lights in the canopy.
Repainting of sanctuary walls
A feature wall running the full-length of the building was of untreated brick. In association with the installation of timber posts to demark the sanctuary visually from the nave, the sanctuary section of that feature wall was painted ivory-white, along with the adjacent sanctuary walls.
Summary
In making recommendations for the redecoration of Holy Spirit Church, Thornbury East, the Saint Bede Studio made no attempt to impose a pseudo-Classical or pseudo-Gothic makeover. Instead, a simple treatment which enhanced the liturgical appointments of the building was successfully carried out. The two photographs above, shewing before and after, illustrate everything described above.
Click on each photograph for an enlarged view.
Monday, 25 October 2010
The "Borromeon" style of chasuble
The Saint Bede Studio has been commissioned by a young priest of the Archdiocese of New York USA to make a Solemn Mass set in the "Borromeon" style. The attached photograph shews the completed chasuble, made from a silk damask of silver and straw colour and ornamented with a silk damask of rose and old gold. The photograph does not nearly convey the beauty of these fabrics. The chasuble is quite long and reaches almost to the wrist, as S' Charles directed. The typical Roman arrangement of ornament for the chasuble was used for this vestment.
Enquiries: stbede62@gmail.com
Click on the picture for a larger view.
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