Tuesday, 25 October 2016

Vestments offered for sale

With the monthly of the Holy Souls drawing near, this set of black vestments is offered for sale to a Catholic priest, seminarian or Parish. This is another in a range of simple and unlined vestments being occasionally offered for sale by the Saint Bede Studio.

The vestments, in a more contemporary style, are made from moiré taffeta also known as watered taffeta. Offered with this chasuble is a chalice veil and stole (both fully lined) at no additional cost.

To read more about this set of vestments and to enquire about its purchase, visit this page.

This post will be removed when the vestments have been sold.

Click on the image for an enlarged view.

Saturday, 22 October 2016

Priestly Ordinations 2016 : 7

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

In this post, we are pleased to mention the ordination of Father Tomas Zuna of the Archdiocese of Birmingham (United Kingdom).

Father Zuna commissioned a set of festal vestments from the Studio in the the Borromeon form which were made from silk damask. The chasuble is ornamented in a damask of burgundy and gold silk, outlined with narrow galloons in the Roman style. It is lined in a wine-red taffeta. Very similar vestments can be seen here and here.

Father Zuna was ordained to the Sacred Priesthood on 16th July by the Archbishop of Birmingham, the Most Rev'd Bernard Longley, in the renowned Gothic Revival Cathedral of Saint Chad. This Cathedral, designed by AWN Pugin, was the first greater Catholic church to be constructed in England since the Reformation and following Catholic emancipation in 1829. It was built on the scale of a Cathedral between 1839 and 1841. It became a Cathedral-church in 1852 after the re-establishment of the Catholic Hierarchy in England.

Figure 2.
Archbishop Longley at the Imposition
of Hands
during the Ordination Mass of
Father Tomas Zuna.

Image : Copyright J Lopuszynski.
For this post, we are pleased to include photographs taken at the Ordination Mass in the Birmingham Cathedral.

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

Enquiries: stbede62@gmail.com

Please click on the images for an enlarged view.

Figure 3.
Archbishop Longley congratulating
the newly-ordained.

Image : Copyright J Lopuszynski.

Figure 4.
The Canon of the Mass.
Image : Copyright J Lopuszynski.

Figure 5.
The interior of S' Chad's Cathedral :
a hall-church reminiscent of the North German Gothic style.

Image : 

Figure 6
Saint Chad's Cathedral Birmingham:
the design of AWN Pugin.

Image : 

Figure 7.
The Ladye Chapel of  S' Chad's Cathedral :
a marvellous ensemble of Pugin's design genius.


Friday, 21 October 2016

Anglophone Missals of the "Interim Rite" 1964 - 1969 : 1

In 1964, as a consequence of the deliberations of the Fathers of the Second Vatican Council, culminating in the Constitution Sacrosanctum Concilium, changes began to be introduced into the Celebration of Mass. New liturgical books which reflected these alterations were required.

On this Blog we will be examining the various iterations of the Roman Missal which were published between 1964 and 1969. These missals are often referred to as "Interim Rite" missals. Of necessity, these posts must be confined to Anglophone Interim Rite Missals.

The first of these Missals for the English-speaking world was published by the Catholic Book Publishing Company (New York) after May 1964, for the use of the Dioceses of the United States of America. Below are photographs from that Missal.

The next post in this series will study the Canadian-Australian Altar Missal of 1964.

Please click on the images for an enlarged view.

The Missal handsomely-bound in red morocco leather and gold stamped.

The titlepage of the 1964 Missal.

On the reverse of the titlepage, the Imprimatur of Cardinal Spellman of New York is shewn.
It also makes reference to the translation of the Scriptures which the Bishops determined for use.

In publishing this Missal, the Bishops Conference of the United States obtained a decree from the now infamous Consilium, signed by Cardinal Lercaro and Father Annibale Bugnini CM and dated 1st May 1964. The decree defined the specific changes to the celebration of the Mass which were permitted. The English language was permitted to be included in the following parts of the Mass (shewn in the photograph below) : the proclamation of the Epistle and Gospel; in the chants of the Ordinary of the Mass, namely the Kyrie, Gloria, Credo, Sanctus and Agnus Dei; in the Lord's Prayer; in the formula Ecce Agnus Dei before the Communion of the Faithful; in the chants of the Proper of the Mass, namely the Introit, Gradual etc., Offertorium and Communio; in acclamations, Greetings and Dialogues between the celebrant and the faithful. Lastly in the "Common Prayer" or prayers of the Faithful.

First part of the decree of the "Consilium" : May 1964.

This Missal, however, is a curiosity: it was published before the decisions regarding revisions to the rite of Mass were published at the beginning of 1965. Consequently, ritually it contains no changes from the celebration of Mass according to the 1962 typical edition of the Missale Romanum. All it admits of is the inclusion of the English language. It permits English for the use of the "Common Prayer" (General Intercessions), but no reference to these prayers is made in the rubrics of the Order of Mass. But one thing worthy of note : where these vernacular admissions are printed, no alternative in Latin is shewn. It seems that when the Consilium used the words in its decree " Linguam anglicanam adhibere licet ", it was more of a requirement than a permission.

The first page of the Proper of the Seasons
shewing the Introit and Epistle in English,
but the Collect still entirely in Latin.

The next photographs are a selection of the pages of the Order of Mass.

The Prayers at the foot of the Altar : still entirely in Latin.

Pages shewing the Kyrie and Gloria, given only in English.
Compare the translation with the present translation for the Ordinary Form of the Roman Rite.

One of the prefaces :
The Preface itself and its introductory dialogue are entirely in Latin;
the Sanctus given only in English.

Pages shewing the Communion Rite :
The Lord's Prayer and Agnus Dei given in English,
everything else in Latin.

The concluding prayers of the Mass remain unaltered
from the 1962 edition of the Missale Romanum and all its predecessors.

Pages shewing the Rite of Burial, including English for chants and orations,
but the antiphon remaining in Latin with its gregorian notation.

Wednesday, 12 October 2016

Orphrey Braids of the Saint Bede Studio

Each year, the Saint Bede Studio adds to its stable of orphrey braids. These unique braids are designed by the Studio and only used in conjunction with our vestments. They are not commercially available, nor available to any other vestment makers and are reserved under international copyright.

Most of our braids are derived from precedents, either Gothic Revival or Mediaeval. They are never merely copies, but always have original touches to enhance the diversity of their use.

The braids shewn in the adjacent image are used for orphreys in both the Gothic and Roman * styles of vestments designed and made by the Studio.

Enquiries : stbede62@gmail.com

* The Studio's interpretation of the Roman style is represented by the Borromeon, Saint Martin and Saint Philip Neri chasubles.

Monday, 10 October 2016

For the Season "Per Annum" 2016 : 6

The set of green vestments shewn in the adjacent photograph was recently made by the Saint Bede Studio.  This unlined chasuble was sewn from dupion silk, handmade in India.

These vestments are in a beautiful, heraldic shade of green, being neither too light nor too dark. The ornament is formed from an orphrey braid exclusive to the Saint Bede Studio and based directly on the work of AWN Pugin. The colours of the braid are red, blue and gold.

This set of vestments is the second in a new range of simple vestments which will occasionally be offered for sale by the Studio. A previous set in the same style may be seen here.

Enquiries : stbede62@gmail.com 

Saturday, 8 October 2016

Beuron School of Liturgical Art

Adjacent is a beautiful liturgical drawing from 1910  in the Beuronese style  Messe mit Wandlungskerze auf dem Altar. It was found at the Wikimedia Commons. Go here to read a little about the Beuron School of liturgical art.

This stylised depiction of a priest celebrating Low Mass is rich with the aesthetic ideals of the Liturgical Movement. The celebrant wears a flowing albe, ornamented with continuous decoration around its hem. Over this he is vested in a conical chasuble, decorated very simply. Not least of interest is the manner in which the altar cloth is decorated, with geometric embroideries and tassles of silk. 

One curiosity is the almost sleeveless surplice being worn by the altar server. Note the restrained gesture with which he lifts the celebrant's chasuble for the Elevation.

Would that this dignified aesthetic were more fully adopted for the celebration of Mass according to both usages of the Roman Rite.

Click on the image for an enlarged view.

Friday, 30 September 2016

For the Season "Per Annum" 2016 : 5

During the time "per annum" we are pleased to present this charming set of green vestments recently completed for a Canadian customer by the Saint Bede Studio.

The chasuble, in a more ample Gothic style, is made from a magnificent English silk damask in a distinctive and pleasing shade of green.  The ornamentation is custom-made, being formed from a teal-coloured dupion silk, outlined with a galloon in black and gold and enriched with applied medallions. The vestments are lined with an aqua-blue taffeta.

Click on the image for an enlarged view.

Enquiries: stbede62@gmail.com

Friday, 23 September 2016

Enquiries with the Studio and 2017 Commissions

Each day, the Studio receives a significant number of e-mail enquiries about vestments and related matters. It is not possible for these messages to receive immediate attention.

In this age, we are accustomed to instantaneous responses to e-mails, tweets, Facebook posts etc. Perhaps unsurprisingly, this ethos is not entirely embraced by The Saint Bede Studio.

We try to answer messages within 7 - 10 days.

If you do not receive a reply, then either your message has not been received or else gives the impression of being a "hoax" enquiry and is deleted.

It would be most helpful if, when contacting us, you could indicate your Parish / Diocese and whether you are a Catholic priest or seminarian. The work of the Studio is confined to customers who are in full communion with the See of Peter.  Messages which gives no details of the name of the sender are, generally, not responded to.

Because of the large number of commissions which the Studio has received in the last six months and is trying to manage, it is not anticipated that work on any new enquiries could be commenced before August 2017.

Your Christian patience is greatly appreciated.

Monday, 19 September 2016

Peter Glenville's Movie of "Becket" (1964)

Richard Burton as the Archbishop of Canterbury with
Peter O'Toole in the role of King Henry II in the
1964 Paramount Pictures movie of Becket.
The cope worn by Richard Burton is in part based
on actual vestments of Saint Thomas Becket;
the curtains in the background have a Papal monogram:
the triple tiara and crossed keys.

Typically, whenever the rites of the Catholic Church are depicted on the big or small screen, they are represented inaccurately (sometimes laughably so), or even sacrilegiously. An exception to this is the very fine 1964 movie "Becket" produced by Paramount Pictures, and starring the late Richard Burton in the role of Saint Thomas Becket (1117 - 1170), once Chancellor of England and subsequently Archbishop of Canterbury.

This post is not about the life of the Saint, but rather about aspects of the presentation of the rites of the Church depicted in this movie. We find that production design for this movie was in the care of John Bryan; art direction by Maurice Carter; set decoration by Robert Cartwright and Patrick McLoughlin with costume design by Margaret Furse. These people obviously researched the rites and vesture of the Church in the early Mediaeval period quite carefully.

A search of the internet has uncovered some interesting stills of this movie, which are shewn here, together with some commentary. Largely they depict that scene where Becket is consecrated as Archbishop of Canterbury. An interesting description of the Consecration is given here .

Click on the following images for an enlarged view.

At the Profession of Faith.
The consecrating bishop is vested for Mass in full pontificals.
The co-consecrators are vested in matching copes and mitres.
Surrounding the prelates are deacons vested in dalmatics
and young acolytes some vested in albes, some in surplices.
Amice apparels are everywhere.

At the Laying-on of hands.
A detail of the ornamentation of the cope used in the production.
The ornamentation is accurately based on a stole of Saint Thomas
still housed in the Sens Cathedral.

Imposition of the mitre.
The mitres worn are all accurate reconstructions of mitres
worn in the 12th century.
They are small, and their titulus and circulus ornaments are
enriched with jewels.

After the Imposition of the mitre.
A specially printed impression of the Pontificale Romanum 
prepared for the movie is seen here.

The well-designed and finely-worked ornamentation
of all the vestments can be seen here.
Note the blue stole worn by the co-consecrator. The practice of having all
the vestments worn by a celebrant of the same colour is not an ancient one.

At the Enthronement.
The new Archbishop, now dressed in full Pontificals for Mass,
is also wearing the pallium: a fine interpretation of the mediaeval form.
Also clearly seen are the fringed dalmatic and tunic
worn by the consecrating bishop.
We must also take note of the beautiful Western-style iconography
created as a backdrop for the Archbishop's throne:
vigorous and very religious in feeling.

The Final Blessing of the Mass of Consecration.
We are able to see the altar in this photograph, ornamented with
images of the saints and with a tabernacle resting upon it.
This would seem to be the least accurate aspect of this scene from the movie.

The Final Blessing, somewhat over-dramatically depicted.

Years after the movie was made,
the costumes designed by Margaret Furse for Richard Burton's use were auctioned.
This photograph shews the chasuble and dalmatic, with an amice apparel.
The chasuble is a rather free redesign of the famous Becket chasuble
kept even to this day at Sens Cathedral.

The actual chasuble of Saint Thomas Becket,
housed in the treasury of Sens Cathedral.
This image is the copyright of Genevra Kornbluth.

A 19th century engraving of the mitre, chasuble and stole of Saint Thomas
venerated at Sens Cathedral.
These vestments were carefully studied for reproduction in the Paramount movie.
The ornamentation of the ancient stole was replicated as the ornament of
a cope and amice apparel used in the movie, whilst the ornament
of the mitre (see below) was used as the basis for several mitres in the production.

Friday, 16 September 2016

For the Season "Per Annum" 2016 : 4

During the time "per annum" we are pleased to present this attractive set of green vestments recently completed for a returning customer by the Saint Bede Studio.

The overall colour scheme for these vestments is "earthy" rather than vibrant. The chasuble, in the Borromeon style, is made from a deep shade of olive green dupion silk and is ornamented with a rich brocade of burgundy and gold according to the Roman form, outlined with a galloon in the same colour.  The vestments are lined with a bronze-coloured taffeta.

Click on the image for an enlarged view.

Enquiries: stbede62@gmail.com