Puginesque Vestments

A young priest from the Archdiocese of New York commissioned vestments made in the Gothic Revival form from the Saint Bede Studio. The chasuble (shewn in the adjacent photograph) was made from an ecclesiastical brocade in a shade of crimson red. The vestments were lined in royal blue cotton.

The orphrey braid used to ornament these vestments is one of several which have been especially designed by the Saint Bede Studio. A chasuble design by AWN  Pugin in the collection of Saint Chad's Cathedral, Birmingham, was the basis for the design of this braid.

Click on the image for an enlarged view.

Enquiries : stbede62@gmail.com

Dalmatic in the 16th century style

Recently, the Saint Bede Studio completed a chasuble and dalmatic based on the style of the16th century for the use of a North American Parish. In this post, we feature the dalmatic, which is made from ecclesiastical brocade and ornamented with a narrow galloon in the Roman style.

From the 16th century onward, the manner of decorating dalmatics changed from the earlier ornamental schemes. From earliest time until the present day, dalmatics have typically been decorated with two strips of ornament called clavus (plural clavi) running parallel to each other down the full length of the vestment.

From the 16th century, the clavi, which had been paired typically at a distance of approximately 30 cm (12 inches) or less, came to be separated much more widely. The apparels - being fabric ornaments which linked the two clavi together,  generally positioned below the neckline of the dalmatic - were also greatly enlarged in size; we might say disproportionately so. In subsequent centuries these ungainly apparels were abandoned and only their outlining galloons remained as the typical form of decoration of the Roman dalmatic.

This simple dalmatic has the widely-spaced clavi, with the apparel being indicated by an outlining braid.

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Enquiries: stbede62@gmail.com

Chasubles of the Roman Rite (Revisited) : 1

PART ONE: THE CONICAL CHASUBLE

A chasuble in the fully-conical form.

Frequently, the Studio receives enquiries asking about the distinctions between the different styles of chasubles.  Comments are also often seen on websites which indicate that this subject matter is still not well-known.  Although this has been written about before on the blog, we wish to present a series of articles describing the styles of chasuble down the centuries until our own time.  These articles were first published on this Blog in 2012.

The ancestor of the liturgical vestment called the chasuble is a garment of ancient Rome 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 Fifth 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.

Well-preserved conical chasuble 
of S' Vitalis, dating from eleventh century.
Note the "TAU" orphrey, 
ornamenting the chasuble.

From the Tenth 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 Tenth and Eleventh centuries that the chasuble was recognised everywhere as the vestment exclusively to be used for the Mass. But even until well into the Eleventh century, it continued to be worn by deacons, lectors and acolytes, not exclusively by priests.

An early mediaeval illustration of
Saint Gregory the Great
shewing him vested in pontificals
including a fully-conical 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.

A conical chasuble is not for celebrants who like to move their arms around a great deal, but it is quite manageable if the arms always remain extended or joined.

Small, but beautiful conical chasuble of
the thirteenth century preserved
in the Church of S' Yves de Louannec.
Note that this chasuble is devoid of ornament.

A rendering of the famous mosaic in the Basilica of San Clemente in Rome.
This section of the mosaic depicts 
Pope Saint Clement standing at the altar during Mass.
The Pope is wearing a fully-conical chasuble.
This mosaic has frequently been misrepresented 
as depicting a modified conical chasuble,
cut-away in the front to form a V-shape. This is quite incorrect.
 A conical chasuble with the preponderance of the fabric 
thrown towards the back of the wearer, 
instead of upon his arms, will produce exactly this effect.
The Eastern chasuble developed 
from such a manner of wearing the conical chasuble.

Click on the images for an enlarged view.

Enquiries: stbede62@gmail.com

Vestments in the 16th century style

The vestment described in this post was commissioned together with a number of other vestments for a Catholic Community in Brazil.

We have here a chasuble in the Saint Philip Neri style. This vestment was made from an ecclesiastical brocade in a brighter shade of green and ornamented in the Roman manner with a narrow braid of a bronze-gold.

Click on the image for an enlarged view.

Enquiries: stbede62@gmail.com

Priestly Ordinations 2015 : 7

Each year, the Saint Bede Studio has the privilege of preparing sacred vestments for priestly Ordinands. Happily, this year has been no exception.

This post concerns Father William Slattery of the Diocese of Fargo (USA), who was ordained to the Sacred Priesthood in the Cathedral Church of Saint Mary, Fargo (North Dakota) on 27th June along with another candidate. Father Slattery had been a student of the Pontifical North American College.

Father Slattery commissioned vestments from the Studio in the Saint Philip Neri style. The vestments (shewn adjacent), were sewn from a shade of ivory silk damask and were ornamented with a simple orphrey in colours of ivory and gold, arranged in the Roman style.  The vestments were lined in a muted shade of yellow taffeta.

Please pray for Father Slattery and for all newly-ordained priests.

Click on the images for an enlarged view.

Enquiries : stbede62@gmail.com

The Bishop of Fargo at the laying-on of hands
during the Ordination Mass of
Father William Slattery.
Image : Tyson Kuznia/Legacy Photography

New Designs

The Saint Bede Studio continually strives to prepare new designs to offer its customers, inspired by Tradition, but not a slave to it. We receive many enquiries for vestments in the Borromeon style, but in some instances we attempt to create something which is as much contemporary as traditional.

The ornamentation of the vestment featured in this post is an example. A new braid, designed by the Studio and made exclusively for our customers, was used to ornament this chasuble of silk damask, lined in a pale yellow taffeta. This braid is named Saint Columba. Geometry is used to create diamond shapes, linked together with simple knotwork. This braid was inspired by Celtic and Cosmati ornamental schemes. This version of the braid is red, with ornament in burgundy and gold.

The vestment described in this post was commissioned together with a number of other vestments for a Monastic Community in Brazil.

Click on the image for an enlarged view.

Enquiries: stbede62@gmail.com

Further Borromeon Vestments

The Saint Bede Studio recently completed a set of red vestments for a young American priest. These vestments are in the Borromeon form and are made from silk damask. The chasuble is ornamented in a damask of burgundy and gold, outlined with narrow galloons in the Roman style. It is lined in a flame-coloured taffeta.

Click on the image for an enlarged view.

Enquiries : stbede62@gmail.com

Priestly Ordinations 2015 : 6

Each year, the Saint Bede Studio has the privilege of preparing sacred vestments for priestly Ordinands. Happily, this year has been no exception.

This post concerns Father Matthew Kiehl of the Diocese of Richmond (USA), who was ordained to the Sacred Priesthood in the Cathedral Church of the Sacred Heart, Richmond (Virginia) on 6th June along with two other candidates.

Father Kiehl commissioned vestments from the Studio in a stylised Gothic form. The vestments (shewn adjacent), were sewn from a silk damask in a muted shade of gold and were ornamented with an orphrey in red and gold : a unique design of the Saint Bede Studio.  The vestments were lined in red taffeta.

Please pray for Father Kiehl and for all newly-ordained priests.

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Enquiries : stbede62@gmail.com

Father Kiehl, centre, with other ordinands
after their Vesting during the Rite of Ordination.
Image : http://literatureangels.blogspot.com.au/

Priestly Ordinations 2015 : 5

One of the two dalmatics.

Each year, the Saint Bede Studio has the privilege of preparing sacred vestments for priestly Ordinands. Happily, this year has been no exception.

This post concerns Father Richard Miserendino of the Diocese of Arlington (USA), who was ordained to the Sacred Priesthood in the Cathedral Church of Saint Thomas More, Arlington (Virginia) on 6th June along with six other candidates.

Father Miserendino commissioned vestments from the Studio in the Saint Austin style, with matching dalmatics. The vestments (shewn adjacent), were sewn from an ivory-coloured ecclesiastical brocade and were ornamented with an orphrey in red, gold, blue and white : a unique design of the Saint Bede Studio, based on early mediaeval ornament. The vestments were lined in straw-gold taffeta.

Please pray for Father Miserendino and for all newly-ordained priests.

Chasuble of Father Miserendino.

Father Miserendino offering his First Holy Mass.
Image supplied by Father Miserendino.

Father Miserendino making his Promise of Obedience to his
Bishop, Monsignor Paul Loverde DD.
Image: Picasaweb/arlingtonvocations.

Click on the images for an enlarged view.

Enquiries : stbede62@gmail.com

Priestly Ordinations 2015 : 4

Each year, the Saint Bede Studio has the privilege of preparing sacred vestments for priestly Ordinands. Happily, this year has been no exception.

This post concerns Father John-Paul Mount of the Archdiocese of Melbourne (Australia), who was ordained to the Sacred Priesthood in the Cathedral Church of Saint Patrick, Melbourne on 27th June along with two other candidates.

Father Mount commissioned vestments from the Studio in the Saint Giles style, but wished particular Marian overtones. The chasuble (shewn adjacent) unique in its design, was sewn from an Italian lampas in silver, straw and taupe and was ornamented with an orphrey in blue with medallions in applique-work. A galloon based on the work of AWN Pugin outlined this orphrey. The vestments were lined in a blue silk taffeta of a shade common in the mediaeval period.

Please pray for Father Mount and for all newly-ordained priests.

This post will be updated with further photographs of Father Mount's Ordination.

Enquiries : stbede62@gmail.com