Concerning fabrics for vestments

Admirers of Church vestments would be surprised to learn that the majority of ecclesiastical fabrics are either entirely or largely comprised  of man-made yarns, or "synthetics".  Fabrics of the highest quality, however, continue to be made from silk ... and these are very expensive.

Contrary to a common prejudice, not all synthetic fabrics are second-rate and unpleasant to wear.  Synthetic fabrics vary widely in quality.  Those who hold the view that a brocade fabric is always better than a plain fabric might be disappointed to learn that widely available ecclesiastical brocades from Europe (particularly Italy), India, the United States &c are not infrequently of indifferent quality.

At the Saint Bede Studio, we use a better quality of fabrics for all our work. A great deal of our time is spent searching for quality fabrics from various parts of the world.  We judge the fabrics we use to be suitable for vestment work not only by their appearance but on their stability and durability.

On this Holy Day

To all friends, customers and readers of this Blog, sincere wishes for a Blessed Christmas.

Every valley shall be exalted, and every mountain and hill be made low; the crooked shall be made straight and the rough places, plain; and the Glory of the Lord shall be revealed and all flesh shall see it together, for the mouth of the Lord has spoken it.
Isaiah 40:4-5.

Michael Sternbeck
The Saint Bede Studio
December 2019

Priestly Ordinations : 8

Recently, the Studio completed a commission for a newly-ordained priest of the Pontifical North American College, Rome.  Our customer chose to have a set of rose vestments made.

The vestments were made from dupion silk in a quite lovely shade of rose and fully lined in a taup-coloured taffeta.  The vestments were ornamented with a new braid now added to the Studio's unique offerings, called Saint Dunstan.  The braid is in colours of platinum, violet and white upon a crimson background.

Click on the images for an enlarged view.

Enquiries : At this page.

Jubilate Deo

Watch this short video about the education of the young in the Archdiocese of Sydney in the Chants of the Mass. The video features the Church of Saint Thomas Becket (Lewisham NSW), the interior of which was re-decorated under the direction of the Saint Bede Studio in 2017 as part of a greater restoration of the fabric.

 Please note that the vestments being worn are not made by the Saint Bede Studio.


Jubilate Deo - Sacred Music Program from New Ark Films on Vimeo.

"Violaceus" in the choirdress of bishops

This painting by the 18th century Dutch artist Carle Van Loo, depicts Saint Augustine of Hippo disputing with the Donatists.  The painting is also of significance in its depiction of episcopal choirdress as it was on Continent in the middle of the 18th century. This oil on canvas was painted in 1753.  Van Loo painted a small series of works depicting the life of Saint Augustine.

Something is most distinctive : the colour of the livery of the bishops is not Roman purple but a shade of blue - at least, it seems so.  This is seen in the cassocks and mozettas worn by the several bishops in the painting.  It is most likely, however, that this is meant to represent a very weak shade of violet, rather than blue itself.

We also note that the rochets worn by the bishops over their cassocks are made from linen, without any form of lace decoration.  An odd omission is the pectoral Cross, which none of the bishops seem to be wearing.

Click on the image for an enlarged view.

For Gaudete Sunday 2019

Twice a year, the Church breaks the tone of its penitential seasons by the use of rose-coloured vestments. Rose-coloured vestments were never commonplace and they still are not.

Many different colours have been deemed by the Church as acceptable as liturgical rose. Some of these are a salmon shade; some a silvery-pink, almost mushroom-colour; some close to what we would call Bishop's purple or fuchsia; and some red with overtones of gold.

We are pleased to feature these vestments in the Puginesque style, a commission from a new customer in Canada. The vestments are made from dupion silk in a darker shade of rose and lined in a subtle pink shade of taffeta. The orphrey of this chasuble is formed from our unique braid called Saint George.  

Click on the images for an enlarged view.

Enquiries : At this page.

The Colours of Advent : an Annual post

Often it is asserted by liturgical commentators and other internet experts, that there are "correct" colours for the vestments used during Lent and Advent. Curious as to the history of these colours in Liturgical use, some years ago we researched and posted an article  here and here, about use of penitential colours for the Seasons of Advent and Lent. If you have wondered what colour the Church recommends for these Seasons, you might find the article illuminating.

We include here 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 young cleric assisting the celebrant is wearing a full-length surplice or rochet, according to the style typically found in Renaissance Italy. Those who claim that such surplices are a "Church of England", or a "Low Church Party" garment 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.

Click on the image for an enlarged view.

In this Season of Advent

The vestments described in this post were commissioned - together with a number of other vestments - for a Monastic Community in Brazil. Adjacent is pictured the new set of vestments in the Borromeon style.

This elegant set of vestments was made from a violet-coloured ecclesiastical brocade and lined in Royal Blue taffeta.  The ornament at the front of the chasuble is a stylised version of the TAU.  The orphrey was formed from one of the Studio's unique braids, Saint Chad, laid upon a panel of violet dupion silk and outlined with a narrow braid in blue and gold.

Click on the images for an enlarged view.

Enquiries : Visit this page

30th November 1969

As has been discussed extensively in various places, 30th November 1969 - being the First Sunday of Advent - was the formal introduction day of the New Order of Mass devised by Father Annibale Bugnini CM and his Consilium.  This rite was approved (at every stage of development) by and published under the authority of Pope Saint Paul VI.

Between 1964 and 1968, step by step, changes were made to the Mass of the Roman Rite, so that the final stage of an entirely New Ordo Missae did not seem so dramatic.  But indeed it was significant.  Many of the words were the same as before, but they were ritually arranged in a very different manner.  Under the veil of "restoration" to the "earlier norms of the Fathers", ritual and textual revision took place to the Order of Mass, which were not properly restorations but often complete inventions, not based on liturgical Tradition.

The beginning of Mass used for the first time on
Advent Sunday 1969.

The most significant change in December 1969 was what is known as The Introductory Rite.  This beginning to the Mass of Pope Paul VI was a complete construct of Fr Bugnini and the Consilium and had no precedent in the rites of the East or the West. It was the Mass as a face-to-face dialogue between the celebrant and the Assembly (the term used in the General Instruction of the New Missal).  For the first time, the celebrant offered parts of the Mass standing at a chair and directly facing the congregation.

The relative merits of these revisions have been argued at length over the last 50 years and such is not the intention of this series of articles about the Liturgical books 1964 - 1970.  An earlier post may be found here.

At the beginning of the liturgical year 1969, there were no proper liturgical books for the celebration of the New Order of Mass.  The typical edition of the new Roman Missal (in Latin) was published subsequently, during 1970 and not available in an English translation until 1975.  Initially, the propers found in the liturgical books created during the period 1964 - 1968 (now referred to as the Interim Rite) continued to be used.  In some countries, an Order of Mass leaflet or booklet was inserted into the older Missals.  The Collect, Secret and Post Communion orations of the old Missal continued to be used for a few years.

The Australian Order of Mass book.
The cover was unadorned, lacking any
Cross or other religious symbol.

In Australia, a nicely-bound Order of Mass was released in January 1970.  The Order of Mass was given both in English and Latin, side-by-side.  It was common in Australia for this Order of Mass to be used in conjunction with a hand missal from the Interim Rite period for the texts of the Orations.  Images in this post illustrate the contents of this Australian Ordo Missae.

Until the publication of the translation of the typical edition of the Roman Missal in English in 1975, only a limited number of Prefaces appeared in these Ordo Missae volumes.  These were :  Advent I; Advent II; Christmas; Epiphany; Sundays in Lent; Weekdays of Lent; The Holy Cross; Easter; Ascension; The Sacred Heart; Christ the King; The Holy Spirit; The Holy Trinity; Sundays of the Year I; Sundays of the Year II; The Eucharist; The Blessed Virgin; Saint Joseph; The Apostles; Common Preface I; Common Preface II; The Dead.

To be continued ...

The decree from the Prefect of the Congregation for
Sacred Rites concerning the commencement
of the New Order of Mass. 

The decree of the Congregation for Divine Worship
permitting the Bishops of Australia to publish a
volume for the New Order of Mass in English.

Letter of Pope Paul VI
forming a preface to the New Order of Mass
liturgical books.

In 1969, an earlier translation of the Nicene Creed
continued to be used for the Order of Mass.

The prayer at the Offertory devised by
Father Annibale Bugnini CM.

The Advent Preface I
which was the preface first used when the
New Order of Mass was introduced in 1969.

Shewing the opening of the Roman Canon
which became known as Eucharistic Prayer I

In the Appendix of this volume,
ICEL texts for Gloria, Creed &c were
included, but which had not been approved for use
in November 1969.

Read another related article here .

Liturgical Art in Troubling Times : 2

Many thanks to all who visit the Blog of The Saint Bede Studio, either on a daily or an occasional basis, to look over our newly-made vestments, or to read our liturgical commentaries. We appreciate your support. 

In a previous article, we spoke about the downturn in custom experienced by the Studio and, indeed, by liturgical artists generally at this time. Something is wrong and it is affecting so many livelihoods in the business of ecclesiastical supply. It is commented upon by economic analysts that when there is disturbance in the market or an economy - whatever the cause may be - people stop spending on whatever is not essential. We seem to be at such a moment.

The Church being in a troubled state, there is every reason why the Saint Bede Studio should also accept its share of hardship; it is not fitting to complain about this too much. On the other hand, at the Studio we like to think (not a delusion we hope) that by our work we are making a significant contribution to the beautification of the Sacred Liturgy and the art of the Church. We would like that contribution to continue.

Would you agree?

Miss Bronwyn Jones and Michael Sternbeck
of The Saint Bede Studio.

Perhaps you could help us to keep the business going in these difficult times :

• Enquire with us about a commission for vestments for your Parish;
• Discuss with us making a gift of vestments to a priest;
• Speak to people you know who might be interested in our work;
• Share links to our work from the Studio Facebook page;
• Pray for God’s Blessing on our Studio, so that we may continue our work.

Please give your earnest consideration to assisting our work.

With our thanks,

Michael Sternbeck

stbede62@gmail.com

To be continued …