A few words from a Studio customer

After a year of ups and downs for the Saint Bede Studio, this Appreciation, offered by one of our American customers, we are pleased to share with our readers :

Up until recently, it seems that major producers of liturgical vesture were more intent on recreating the Catholic aesthetic rather than reverencing it: catering to fads and novelty, rather than appealing to beauty and tradition.  Now, however, we can be grateful that truly dignified vesture is becoming more readily available to those concerned with cultivating authentic Catholic worship. The Saint Bede Studio has firmly established its place within this renewal, through the intelligently researched and carefully executed efforts of the Studio's proprietor, Michael Sternbeck. His workmanship and professionalism is to be highly commended, and customers will discover all those qualities to be expected in any true art: attention to detail, expert knowledge of methods, and quality materials.  Not unimportantly, in the Saint Bede Studio we have Catholic artisans working only for the Catholic Church.

A further word about materials is needed, however.  One of Saint Bede's most treasured assets must be its wide range of orphrey braids. These are designed by the Studio for the Studio's vestment-making use.  Few other producers of worthy Catholic vesture have access to materials made only for themselves. Without exaggeration, then, these unique braids thereby distinguish the Saint Bede Studio from every other producer of liturgical vesture. Certainly anyone in search of exceptional quality vesture of the Gothic Revival need look no further than the Saint Bede Studio. Still, as customers have come to understand, the work of the Studio hardly limits itself to this one style alone.

In the end, we can only be hopeful that renewal of Catholic worship will continue in many places. Quite simply, the Saint Bede Studio is to be highly, highly recommended. May God continue to bless and sustain its work: ut in omnibus glorificetur Deus.

Priestly Ordinations 2015 : 9

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 Andrew Garnett of the Diocese of Rockville Centre (New York, USA), who was ordained to the Sacred Priesthood in the Cathedral of Saint Agnes (Long Island NY) on 20th June along with four other candidates.

Father Garnett commissioned vestments in the Borromeon form. The chasuble (shewn adjacent), was sewn from a white-coloured silk damask in colours of silver and straw-gold and was ornamented in the Roman manner with a brocade in the colours of old rose and old gold, outlined with a narrow galloon. The vestments were lined in a straw-coloured taffeta.

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

Please click on the image for an enlarged view.

Enquiries: stbede62@gmail.com

Father Garnett during the Offering
of his First Holy Mass.
Image supplied by Father Garnett.

During the Ordination Mass in
Saint Agnes' Cathedral, Long Island USA.
Father Garnett is pictured 2nd from the left.
Image from the Diocese of Rockville Centre website.

Interior of the Cathedral of Saint Agnes
presently undergoing restoration.

Chasuble Styles of the Roman Rite : 2 (Revised)

PART TWO: THE SEMI-CONICAL CHASUBLE

A semi-conical chasuble
prepared by the Saint Bede Studio
for an American priest.

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.

Semi-conical chasuble of S' Bernard 
kept at the Aachen Cathedral.

The modification of the shape of the chasuble which was handed on from the earliest centuries of the Church, and which was discussed in our previous article, seems to have been initiated solely for convenience to the wearer: the enveloping conical form greatly restricted arm movement. Although many authors specify the Thirteenth century as the period for the modification to the form, we find surviving chasubles  from the Twelfth century in the semi-conical form.

Semi-conical chasuble of S' Thomas Becket at the Sens Cathedral
Photograph reproduced under licence from Kornbluth Photography.

In the Thirteenth century, three further significant reasons brought about a desire to reduce the dimensions of the chasuble. The first was the introduction 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 Thirteenth 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.

How was the chasuble form 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. The chasubles depicted above, said to have been worn by Saint Bernard (1090-1153) and Saint Thomas Becket (1118-1170) are examples of this earliest modification. Notice that what had been a bell-shaped garment has become pointed. According to some scholars, the introduction of shoulder seams allowed the width of the chasuble form progressively to be reduced from the traditional conical form, but this will be discussed in the third article in this series.

Detail of a 15th century painting 
depicting Saint Augustine 
wearing a semi-conical chasuble.

The photograph of S' Thomas Becket's chasuble was made available by Dr Genevra Kornbluth.  It may not be reproduced.  Other images of the Becket vestments may be seen at the same site.

The back and front of a semi-conical chasuble 
made by the Saint Bede Studio.

Click on the images for an enlarged view.

Enquiries: stbede62@gmail.com

Priestly Ordinations 2015 : 8

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 Ryan Sliwa of the Diocese Springfield (USA), who was ordained to the Sacred Priesthood in the Cathedral Church of Saint Michael, Springfield (Massachusetts) on 6th June.

Father Sliwa commissioned vestments from the Studio inspired by Mediaeval exemplars. The vestments - a semi-conical chasuble and cope (shewn adjacent) - were sewn from a shade of ivory silk damask and were ornamented with a simple orphrey in colours of blue, red, ivory and gold.  The vestments were lined in a mediaeval blue taffeta.

Father Sliwa very kindly supplied us with photographs of his Ordination and First Holy Mass, which we are pleased to include.

Father Sliwa during the Offering of his First Holy Mass.

Father Sliwa flanked by a deacon and an assistant priest
during the celebration of his First Holy Mass.
Note the reliquaries upon the altar.

The Bishop of Springfield presenting the sacred vessels
to Father Sliwa during the Mass of Ordination.

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

Click on the images for an enlarged view.

Enquiries : stbede62@gmail.com

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.

Click on the image for an enlarged view.

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