Saturday, 27 May 2017

Commission for Vestments in 2018

Commissions for the first half of 2018 are now being accepted.
  
Will you be ordained in 2018?

Please do not delay in making an enquiry.  

Places in our schedule are limited. Now is the time to be in contact with the Studio.  

Enquiries : stbede62@gmail.com

Saint Giles chasuble

Saint Bede StudioThe Saint Bede Studio recently completed this chasuble according to our Saint Giles design.  This simple and elegant chasuble, made from a cream coloured silk blend jacquard, is extremely lightweight and flows beautifully.

It is ornamented with a braid of the Studio's design, in colours of red, burgundy and gold.  This design is directly based upon a Belgian early-20th century chasuble which appears on page 92 of Dom Roulin's well-known study Vestments and Vesture (1931). The image from Dom Roulin's book is reproduced below.

Please click on the images for an enlarged view.

Enquiries : stbede62@gmail.com




Friday, 19 May 2017

Gothic Revival Vestments

We are pleased to present these similar sets of red vestments prepared by the Saint Bede Studio for two priests from the Diocese of Arlington (Virginia) in the United States.

These sets of vestments are in the Studio's Saint Austin Gothic Revival style. They are made from an English ecclesiastical brocade in a deeper shade of red. Lined in a gold shade of taffeta, the vestments are ornamented with braids in red and gold, of the Studio's own design.

Please click on the images for an enlarged view.

Enquiries : stbede62@gmail.com



Sunday, 14 May 2017

Papal Mass in Saint Peter's 1965

Adjacent is a rather rare photograph, taken in Saint Peter's during a Session of the Second Vatican Council.

Standing at the centre of the altar is Pope Paul VI and with him, concelebrating bishops. At the Opening of the Third and Fourth Sessions of the Council, which took place on 14th September, 1964 and 14th September, 1965 respectively, Pope Paul concelebrated Mass in the basilica with a select number of the Council Fathers.

This Mass, of course, is being celebrated according to those modifications of the Extraordinary Form of the Roman Rite known colloquially as The Interim Missal. The Rite of concelebration, however, is quite similar to that which is found in the new Missal of 1969.

Nevertheless, the concelebrated Masses celebrated in Saint Peter's before the introduction of the new Missal differed very significantly from those after that date, as is illustrated by this photograph. Although the Basilica on this occasion was filled with bishops, archbishops and cardinals from all around the world, only a small number concelebrated with the Pope.

These concelebrants were standing at the altar during the Canon and Communion Rite. To facilitate this, a temporary enlargement of the altar of the Confession was made, together with platforms on which the concelebrants would stand.

It was of little importance that the concelebrants obscured the congregation's view of the principal celebrant, the Pope. The most important considerations, therefore, were that the concelebrants stood at the altar in close proximity to each other (and the principal celebrant) AND that they could clearly look upon the elements to be consecrated.

Click on the images for an enlarged view.




Tuesday, 9 May 2017

Suscipe Sancta Trinitas

One of the prayers which didn't survive the Missale Romanum final cut in 1970 was this one:
Accept, holy Trinity, this offering which we make to you in remembrance of the passion, resurrection and ascension of our Lord Jesus Christ, and in honour of blessed Mary ever Virgin, of blessed John the Baptist, of the holy Apostles Peter and Paul, of those whose relics rest here, and of all the Saints. To them may it bring honour, and to us salvation; and may they, whose memory we keep on earth, be pleased to intercede for us in heaven. Through the same Christ our Lord. Amen.
This beautiful prayer, intended to be recited quietly after the washing of the hands during the Preparation of Gifts or Offertory, is a summary of the things a Catholic should keep in mind when praying the Mass. It reminds us firstly that all our worship is offered to the One God, who is a Trinity of Persons: Father, Son and Holy Spirit. Secondly, in reflecting the Anamnesis after the consecration, the prayer insists on the unity of Christ’s Paschal Mystery that is re-presented for us in sacramental form: His Passion, Resurrection and Ascension. Finally, it asserts that a secondary end of the Mass is the honour of the Saints (that is, the victory of Christ in His members is being praised), and accordingly it begs their intercession for us on Earth.

One can only wonder at the mentality which saw fit to excise this prayer from the Mass. If there was one prayer that ought to have been retained at the Offertory, this was the one. After washing his hands and before inviting the people to prayer (Pray, brethren), the celebrant bowed before the altar and quietly prayed the Suscipe Sancta Trinitas.

If you are a priest reading this, you might consider praying this prayer at the Offertory when you offer the Ordinary Form of the Roman Mass. If you pray it according to the rubrics of the 1962 Missale Romanum, (namely bowed and silently) no one in the pews will be disturbed by hearing a prayer recited which is not contained in the New Order of Mass.  Be daring.

How beautiful it would be if once again this prayer were recited at every Mass!  The Angels would rejoice.

The Latin:
Suscipe, sancta Trinitas, hanc oblationem, quam tibi offerimus ob memoriam passionis, resurrectionis, et ascensionis Jesu Christi Domini nostri: et in honorem beatae Mariae semper Virginis et beati Joannis Baptistae, et sanctorum Apostolorum Petri et Pauli, et istorum, et omnium Sanctorum: ut illis proficiat ad honorem, nobis autem ad salutem: et illi pro nobis intercedere dignentur in caelis, quorum memoriam agimus in terris. Per eundem Christum Dominum nostrum. Amen. 

Thursday, 4 May 2017

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.

Wednesday, 3 May 2017

The Altar Frontal : 1

Reproduced from our other Blog Where Heaven and Earth Meet

The Altar of the Confession in Saint Peter's Basilica.
Pope Benedict is seen here offering Mass on Pentecost 2008.
This marvellously embroidered frontal in crimson red and gold 
frequently clothes this altar for Papal Masses.
Excepting perhaps for the altar canopy or civory, the most worthy, liturgical, notable and appropriate adornment of any altar is its altar frontal (antependium). More than any other adornment does the use of the antependium highlight the primacy of the altar. And yet, the antependium is the adornment most frequently lacking from our altars. The Rev'd J.B. O’Connell speaks of the symbolism of the antependium:

As the early linen clothing of the altar recalled our Lord’s burial shroud, so the precious fabric of the later frontal is to recall his royalty....The clothed altar with its beauty and changing colours is a symbol of the Mystical Body - the whole Christ, Christ united with all his saints - it translates this doctrine into the language of colour and form. In addition to its symbolical value, the frontal - with its sequence of colours and its changing form and decoration - lends variety and new beauty to the altar, and helps to mark the degrees of festivity in the Church’s liturgy. Because of its function as an adornment of the altar - although not its primary purpose, which is its symbolism - some liturgical writers maintain that its use is not obligatory, by custom, if the altar is itself made of precious material and highly decorative. But if the frontal is not used, not only is its symbolism disregarded, but the altar is without change of permanent adornment, degrees of festivity cannot be adequately expressed, nor can the liturgical changes of season or feast be fully indicated. 
J.B. O’Connell, Church Building and Furnishing: the Church’s Way, pp.188-89.

The use of the antependium has been a continual practice in the basilicas of Rome.
To this day, the Altar of the Confession in S’ Peter’s Basilica
is clothed with an antependium during the Papal Masses.
Shewn in this image is one of the elaborately-worked antependia used in Saint Peter's.
It may also be observed that many altars of no particular artistic merit, and especially altars which are simply supported on two or four pillars and lack a solid panel underneath the altar table, can be particularly enhanced by the use of an antependium. 

Until 1960, the Rubrics of the Roman Missal and the directives of the Ceremonial of Bishops required that altars, but specifically high altars be clothed with an antependium: it was not a matter of choice or dependent upon the beauty or otherwise of any given altar. Unhappily, however, the directives were largely ignored. Recognising this failure, the revised rubrics of the 1960 Missal omitted the sentence which required the use of an antependium, although maintaining that rubric which required the antependium to be changed according to the season or festival. Even after the requirement for an antependium had been relaxed by the revised rubrics of 1960, the American scholar of canon and liturgical law Father Frederick McManus (who was to become prominent amongst the liturgical reformers), advocated the use of antependia: 

The altar in Saint Peter's without an antependium.
The altar is of surprising plainness, indicating that it was
intended that the central altar of Christendom
would always be clothed for Mass.
The use of the frontal as the vestment of the altar remains proper and entirely suitable...it is still very desirable as a worthy vestment for the altar...and as an effective indication of the liturgical celebration.
F.R. McManus, Handbook For the New Rubrics, Baltimore, 1961, pp. 202-03.

Sufficient has been quoted to demonstrate that even if the antependium is not required, its use is eminently suitable and desirable liturgically, important symbolically, and could not be recommended strongly enough. Very few altars are incapable of having antependia attached to them, even if some ingenuity in keeping them in place is required.


A wider view of the Altar of the Confession, decorated for Christmas.
The altar is manifestly enhanced by the magnificent antependium. 

Tuesday, 2 May 2017

Affording Quality Vestments amidst Fiscal Constraint

Good-quality vestments, especially if they are handmade and use silk fabrics, are quite costly.  Indeed, they always have been.  Some years ago, on a website, was found a strategy for being able to afford a vestment which seems too expensive.  It may be useful for readers.  It goes something like this...

Father had his heart set on a particular set of vestments, but didn't have the money to purchase them. The Parish had many commitments and could not justify making such a purchase. But the Parish did buy them and then they were put on display in the Church, with this sign:

"These new vestments were recently purchased. When we have raised enough money to cover their cost, they will be used at the Altar. Until then, they are only for display."

It didn't take too long for the money to be raised for the vestments to be used for Mass and more besides; in fact, enough for another set to be purchased! The Parish loves the vestments and loves to see Father wearing them for Mass.


There is another facet of this story which many priests will be familiar with : the Faithful appreciate being asked to contribute to the beautification of their Parish church and its Sacred Liturgy. After all, it is the Faithful who look at the vestments worn by the priest. Is it not natural to wish to look at things of beauty?

Sunday, 23 April 2017

Festal Dalmatic

Recently, the Saint Bede Studio has completed a dalmatic, shewn in the adjacent image, for a returning customer of the Diocese of Covington (Kentucky) USA. The dalmatic, ornamented in the Roman style, was made to match a chasuble previously made by the Studio.

The dalmatic was made from a lovely ecclesiastical brocade in colours of ivory and straw. It is lined in a lemon-coloured taffeta and ornamented with a narrow galloon (designed by the Studio) in colours of burgundy and gold.

Click on the image for an enlarged view.

E-mail : stbede62@gmail.com


Tuesday, 18 April 2017

Festal Vestments

During the Easter Octave, we are pleased to present these vestments which were made by the Saint Bede Studio for a priest-customer of the Diocese of Arlington (Virginia) USA.

Our customer, being quite tall, requested a very ample chasuble for Festal Days, but with a decorative scheme which made reference to the Blessed Virgin. These vestments were made from a very lightweight golden silk damask and lined in Royal Blue taffeta. The orphrey braid, of the Studio's own design, was enhanced with a galloon border in red, gold and blue.

Please click on the image for an enlarged view.

Enquiries : stbede62@gmail.com

Sunday, 16 April 2017

Ad multos annos

The glory of the Day of Resurrection has an additional facet of joy this year, being the 90th birthday of our beloved Benedict XVI, formerly our Shepherd during the years 2005 - 2013.

The Church now is in troubled waters and we rely on the prayers of Pope Benedict, as we would look to a grandparent. May God grant him a clear mind and good health for the remainder of his earthly life.

Saturday, 15 April 2017

Paschal Greetings 2017

To all readers of this blog and to customers and friends of the Saint Bede Studio, may many Graces be yours on the Day of our Lord's Resurrection.

In a world full of strife, violence, persecutions, hatred, abuse, etc. - all wrought by man - we look again to the optimistic Christian message that God has overcome Death and all the awfulness, frailties and disappointments of our earthly life and loves each and every poor sinner.

Christ is Risen !

Saturday, 8 April 2017

Passiontide 2017

The Saint Bede Studio recently completed a set of vestments for a young priest of the Archdiocese of Saint Louis, USA.

These were vestments in the Saint Martin style: very ample.  The vestments were made from a purple ecclesiastical brocade and lined in a deep red shade of taffeta. They are ornamented with a narrow braid in colours of Royal Blue, red, gold and white. The distinctive arrangement of the braids is derived from the chasuble of Saint Thomas Becket at Sens Cathedral.

Click on the images for an enlarged view.

Enquiries: stbede62@gmail.com

Sunday, 2 April 2017

Dalmatic for the Penitential Seasons

The Saint Bede Studio recently completed the vestments shewn in the adjacent photograph for a parish in the Diocese of Fall River (USA). This is one of two dalmatics and the matching chasuble is shewn in a previous post.

Although there are many different shades used for Lenten and Advent vestments (none of which has a claim to being the correct colour), nevertheless, this particular shade of violet is closer to what was used during the mediaeval period and until the beginning of the 20th century.  It is a subdued colour, but not dark, closer to the shade of the flowers violets

Instead of the ubiquitous treatment of gold ornament, these vestments are ornamented with galloons of charcoal and silver and are lined in taffeta of silver-grey. The dalmatics are ornamented in a modified form of the Roman manner.

Click on the images for an enlarged view.

Enquiries :   stbede62@gmail.com

Friday, 31 March 2017

Gremlins

In the last 10 days, the Studio has been beset by difficulties : computer, telephone and related technocrap. Although not being a slave to the modern digital age, we are nevertheless forced to be fellow-travellers.

Correspondents, please bear with us. The actual sewing-work of the Studio has, happily, continued unimpaired.

"Normal service HAS been resumed as soon as possible." Basil Fawlty.

Sunday, 26 March 2017

For Laetare Sunday 2017

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.  Nevertheless, you will find various pronouncements these days (usually on websites) about what the real or authentic shade of rose is which is to be used for vestments.

Newsflash: there is no official shade of Rose designated by the Church, nor has there ever been.  The reason for this is rather simple: only in the last century did the process of dyeing fabric become sufficiently sophisticated to ensure that much the same shade of a colour emerged from one batch of fabric dyeing to another.  Previous to that, dyes were derived from plants etc., made up with a great deal of labour.

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.

Another thing is certain: Bubblegum Pink is not Rose, nor has it been a traditional variation for use on these days. Whilst not intending to get into the argument as to whether the use of a such a vibrant pink is a fitting colour for a man to wear, "Bubblegum Pink" certainly manifests a lamentable lack of liturgical good taste. Sadly, pink-coloured vestments, purporting to be Rose, are becoming increasingly commonplace and now even appear at Papal Masses.

Featured in this post is the vestment shewn above, made for a returning customer in the Borromeon style. The vestments are made from a beautiful English silk damask and the orphrey is formed from a Puginesque braid in shades of burgundy, red and ash-grey, designed by and made especially for the Studio.

Click on the image for an enlarged view.

Enquiries: stbede62@gmail.com

Saturday, 25 March 2017

Ladye Day 2017

To commemorate our Lady's Feast, we are pleased to present this Maria Regina chasuble, recently completed for a priest of the Archdiocese of Philadelphia.

The Maria Regina chasuble, especially intended for Feasts of the Blessed Virgin, is based on the style of chasuble commonly found in England and the Low Countries in the 15th and 16th centuries: long and pointed, but reaching only to the elbows. A similar cut of chasuble was adopted by AWN Pugin at the times of his Revival of "Gothic" vestments in the 19th century. The braids to ornament these vestments were designed by the Saint Bede Studio, inspired by a Pugin orphrey.

Click on the image for an enlarged view.

Enquiries : stbede62@gmail.com

Wednesday, 22 March 2017

During the Lenten Season

Borromeon chasuble
The Saint Bede Studio recently completed the vestments shewn in the adjacent photograph for a parish in the Diocese of Fall River (USA). This chasuble is in the Borromeon style.

Although there are many different shades used for Lenten and Advent vestments (none of which has a claim to being the correct colour), nevertheless, this particular shade of violet is closer to what was used during the mediaeval period and until the beginning of the 20th century.  It is a subdued colour, but not dark, closer to the shade of the flowers Violets. 

Instead of the ubiquitous treatment of gold ornament, these vestments are ornamented with galloons of charcoal and silver and are lined in taffeta of silver-grey. The vestments are ornamented in the Roman manner.

Click on the images for an enlarged view.

Enquiries: stbede62@gmail.com


Monday, 20 March 2017

Violets are Blue (reposted)

Two shades of "violet".
Often is read here and there vigorous assertions about the "correct" colour of vestments to be used during Lent and Advent. If you have wondered what colour the Church recommends for these Seasons, you may find these posts on our Blog ( here and here) illuminating.

The adjacent photograph depicts two different shades of the colour "violet".  Violet is a blue-tinged colour: it is quite distinct from the colour purple, a shade of which is used as the choir dress for bishops and lesser prelates.

The darker of the two shades is close to that colour described as indigo.

Saturday, 18 March 2017

Contrasts : 8



Two images of Solemn Mass both celebrated in Gothic Revival Churches. 

An inventive use of tapestry fabric is shewn in the "gothic" vestments (above);
whilst an anaemic colour palette and awkward construction is demonstrated
in the other, in the manner of the Spanish Baroque.

Thursday, 9 March 2017

Studio Milestone

On 26th March, 2007 this Web-log of the Saint Bede Studio was commenced.  Earlier today, after 10 years, a milestone was passed with the ONE MILLIONTH visit to the Blog! In an age of frenetic social media activity, 1,000,000 visits probably doesn't seem too consequential, but for a small enterprise, such as this Studio, it is an important event and occasion to thank God for His Blessings.

The work of the Studio was commenced in 2002 (an uncertain date) and became a full-time enterprise in January 2008. It seems that over these years, 450 - 500 vestments have been made, comprising chasubles, copes and dalmatics; this figure would be doubled if we include chalice veil, burses, stoles and maniples.

Certainly, our most thrilling moment (so far?) was when we made vestments for Pope Benedict, which were used during his visit to Australia in 2008 and thereafter returned with him to Rome to live in the sacristy of Saint Peter's Basilica. Maybe one day, in better times, we will see them used again.

Our prayerful thanks to all those who have visited the Saint Bede Studio Web log over these ten years. We hope our best work is yet to come.

Saturday, 4 March 2017

As Lent Begins

This is a chasuble in the Studio's Saint Martin style, being a contemporary interpretation of the mediaeval chasuble. It is a very ample vestment and intended for use in Lent. The vestments are made from a simple silk in a darker shade of purple and ornamented in the Roman style with a braid of the Studio's own design, but based on the work of AWN Pugin. It is fully lined in crimson taffeta.

The vestment described in this post was commissioned by a young priest in the United States.

Click on the adjacent image for an enlarged view.

Enquiries: stbede62@gmail.com

Friday, 24 February 2017

The Season "Per Annum" 2017 : 3

Green Vestments
The vestments shewn in the adjacent photograph were prepared for a young priest from the United States.

This chasuble, in the Saint Bede Studio's Saint Austin design, is made from an English ecclesiastical brocade and is lined in taffeta. The vestments are ornamented with an orphrey braid of the Studio's own design in colours of blue, gold and white upon red. This orphrey incorporates a monogram of the Blessed Virgin.


Click on the image for an enlarged view.

Enquiries: stbede62@gmail.com

Saturday, 18 February 2017

Puginesque Vestments

red vestments
A priest from Germany, a returning customer, commissioned these 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 taffeta.

The orphrey braid used to ornament these vestments is one of several which have been especially designed by the Saint Bede Studio. A chasuble designed 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

Thursday, 16 February 2017

Contrasts : 7

Image : www.lepetitplacide.org
Processions to Mass celebrated in the Extraordinary Form 
(above) a French Monastery,  (below) an English parish. 

Click on the images for enlarged views.

Image : www.clerus.org

Sunday, 12 February 2017

Contrasts : 6


(Above) The Ladye Chapel of Downside Abbey (UK).
Image : https://www.flickr.com/photos/41621108@N00/

(Below) The High Altar Ottobeuren Abbey (Bavaria).
Image : The New Liturgical Movement.



Click on the images for an enlarged view.

Tuesday, 7 February 2017

Contrasts : 5


Images from the website of the Benedictine Archabbey of Saint Martin, Beuron in the Danube Valley. Above, the Abbey Church and below the Chapel of Grace attached to principal Church. Read more about the two churches of this monastery here and here.


Wednesday, 1 February 2017

The Season "Per Annum" 2017 : 2

The set of green vestments shewn in the adjacent image was purchased as a gift for a priest.

The vestments are made from moiré bengaline also known as corded silk. The chasuble is unlined, but has a facing on the underside of the neckline to give a neat and substantial finish to the opening.

These vestments are in a beautiful, muted shade of green. The ornament is formed from a new orphrey braid designed by the Saint Bede Studio, being inspired by the art nouveau. The colours of the braid are red, green and white upon a black base.

Enquiries : stbede62@gmail.com 

Click on the image for an enlarged view.

Tuesday, 31 January 2017

Contrasts : 4




Images found at the blog The New Liturgical Movement.

Click on the images for an enlarged view.

Wednesday, 25 January 2017

For the Season " Per Annum " 2017 : 1

The vestments shewn in the adjacent photograph were prepared by the Saint Bede Studio for a returning customer, a young priest from Germany.

This chasuble, in the Saint Bede Studio's Saint Austin design, is made from an English ecclesiastical brocade and is lined in taffeta. The vestments are ornamented with an orphrey braid of the Studio's own design in colours of green and gold upon red. The braid is directly based on a design by AWN Pugin.

Click on the image for an enlarged view.

Enquiries: stbede62@gmail.com

Friday, 20 January 2017

The Spoken Word in the Roman Liturgy : 1

Photograph from a children's Mass-book
shewing the celebration of Mass
according to the "Interim Missal".
This article is re-published to complement an article appearing on the blog The New Liturgical Movement, titled Death by Dullness : Prioritising Speech over Silence and Song. Readers are invited to read the article by Dr. Kwasnievski.

One of the characteristics of the Roman Rite until the Introduction of the Pauline Missal in 1970, was the balance it achieved between silence, singing, the spoken word and ritual action. Even the so-called Interim Rite, which had various iterations between 1964 and 1968, still preserved much of this balance.  The Roman Rite "spoke" to people on a number of levels, not just the cerebral level. Its silences spoke, its aesthetics spoke, its unique and other-worldly music spoke.

On the other hand, one of the great flaws of the Pauline Missal is that it is far too cerebral. Everything has to be comprehensible intellectually. The Council Fathers decreed that the Church's Rites had to be "intelligible", but unhappily, the Pauline Missal took this injunction too far.

The typical celebration of the New Mass, Ordinary Form - call it what you will - is very wordy. If the texts in the Missal itself weren't more than enough, we are also subjected to little commentaries, entertainments, even ferverini during the Mass. Words, words, words. Too many words.

At the same time, ritual action in the New Mass has been reduced to a minimum. Silence is imposed by the celebrant, rather than being organic to the Rite. One strange example of this, which we experience too often, is the celebrant - having preached his homily - goes and sits down and a period of silence is endured. Presumably we are to meditate on his spoken wisdom: but does anyone remember more than two sentences that he said?

Let us be very careful to avoid an overly-cerebral approach to the Sacred Liturgy (New or Old).  Might we not aim, rather, to recapture and preserve that old balance of the Roman Rite: silence and sacred music supporting the Ritual actions?

Wednesday, 11 January 2017

Conical vestments


We are pleased to offer this post featuring vestments made by the Saint Bede Studio for a returning customer from Germany.

These vestments were made from dupion silk of a deeper shade of crimson-red and in the semi-conical form.  The ornament of these vestments, formed from a bronze-coloured galloon, is simple but distinctive. It consists of the well-known TAU form enriched with two adjacent diagonal strips of galloon. The vestments are fully-lined in taffeta of a bronze colour.

Enquiries : stbede62@gmail.com

Monday, 9 January 2017

Important Notice : 2017 Ordinands

Re-posted from 2nd January

Because of strong demand, the Studio's scheduled of commissions for the period January - August 2017 is now over-flowing. Unfortunately, it will not be possible to carry out work on any new enquiries until after that time.

Because this will disrupt the service we normally offer at this time of year to Ordinands, we wish to advise that a number of white chasuble sets will be made available for sale on this Blog during the first half of 2017 to ordinands * whose need may be urgent. These will be simpler sets, ornamented with a variety of the Studio's unique braids.

If you are considering vestments, please do not delay in contacting us, because the schedule quickly fills.

Enquiries stbede62@gmail.com

NB. No enquirer requesting a maniple will be presumed by The Saint Bede Studio to be rigid or defective in love. 

Friday, 6 January 2017

On the Feast of the Epiphany

On the Feast of the Epiphany of the Lord, we are pleased to present these vestments, recently completed for an English customer.  Our customer commissioned the vestments in the Studio's  Saint Giles style, as a gift for a priest of the Oxford Oratory.

The chasuble (shewn adjacent), was sewn from an Italian lampas in colours of 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 vibrant shade common in the mediaeval period.

Our customer kindly supplied us with a photograph of the vestments being worn for the celebration of Mass (during the Christmas Octave in the private chapel of his London residence), which are grateful to reproduce below.

Please click on the images for an enlarged view.

Enquiries : stbede62@gmail.com

Figure 2.
Father Dominic Jacob of the Oxford Oratory
offering Mass in a private chapel in London.

Image : Courtesy of Mr Anthony Jeffery.

Tuesday, 3 January 2017

Saint Philip Neri Festal Vestments

At the beginning of the New Year, the Saint Bede Studio is pleased to offer this post about a set of vestments in the Saint Philip Neri style. These vestments were prepared for a priest in Hong Kong celebrating the Jubilee of his Ordination.

The vestments are made from a beautiful silk damask, ivory-coloured. The ornament, in the Roman style, is formed from outlining galloons, enriching a silk brocade in ivory and gold thread. The lining is of taffeta in a sunny shade of gold.

Please click on the adjacent image for an enlarged view.

Enquiries : stbede62@gmail.com


To all readers of this blog, our best wishes for God's abundant Blessings in 2017.