Klave Centesca THE BLOG

A Rhapsody In Blue Chasuble

noreply@blogger.com (KLAVE CENTESCA) — Wed, 05 Jun 2019 13:45:00 +0000

Today we shall share the new chasuble we've made for Father Michael Sahdev. You may remember the red one from a couple of years ago ... memorable because of it's dragon-slaying Archangel enshrined within the pommel of the 3D chalice embroidered on its breast... if you don't, check it out here.

That embroidered chalice has caused much sensation - one day, we've pledged, that design must be realized in real silver and gold... so the real blood of The Lord it may hold - but so far, it sees a second incarnation in this new chasuble too. At least in the tiniest of ways... but ever so present:

The choice was obvious when we discussed some design or theme for the planned white vestment. Doing the chalice again seemed like a good way to have a link between the first chasuble and the new one... but why merely copy? What about placing it on the altar? Have Jesus Himself as priest and Sacrifice.

But we had also discussed incorporating some blue... a nudge to Mary. White vestments are used for the Marian Feasts as well as the Baptisms, Weddings, celebration of non-martyred saints, and of course: Easter, Christmas and All Hallows' Day.

Standing at 6'6" tall, that's a lot of fabric in a gothic chasuble... so we needed something more than plain white fabric... something with a large enough pattern, enough body to stand and drape gracefully, and this pale silver and gold floral brocade which would have been at home in a 17c painting fell from heaven, as it were.

A royal blue lining was that touch of Mary... yet... finding the electric blue brocade interwoven in silver and gold had everyone in jubilant expectation of seeing what could become of all these seemingly disparate parts. Like a rhapsody: it is episodic, contrasting, capriciously majestic, and extravagantly blue. Could we give it any other name?

You know it had to be what it is: The Rhapsody in Blue Chasuble.

But beyond the obviously external, the evident even from the farthest pew in church... it is also a deeply special and intimate homage to the inspiration which fills the breast of the priest who wears it:

At the center, as we already saw, is the chalice with the blood and the flesh shining above: Jesus as the sacrifice and priest at once. God sacrificing Himself to Himself. Something every priest remembers when re-enacting that first mass.

To his right is the precursor Saint John the Baptist, His cousin, who recognized Him even when each was still within the womb of their mothers... and speaking of Mary Full Of Grace, she stands behind, supporting the fruit of Her womb, with a hand on His shoulder.

John, of course holds a silver shell as those used to baptize... for lest anyone forgets, he was not only the one to sprinkle Jesus with the waters of The Jordan, but also His cousin... and cousins seem to always hold bunny ears or some such in pictures, if they can - do they not?

So, the raised arm in the gesture of baptizing is our way of remembering that even in the most serious of subjects there should be mirth, for after all, The Agapeic Meal is a heavenly sight and nothing to frown over, solemn as it is.

Mary, all the while, holds a candle.

This recalls Jesus being called "Light of the World" and also a nod to her Churching, also known as The Purification of Mary (February 2nd, 40 days after The Christ's birth). In some of the Romance languages birthing is equated with the mother "giving light" to her child: "dar a luz" in Spanish and Portuguese. Sometimes they also gift chasubles (Hi Pam!).

Family is thus here represented. It was, after all, the mother and the aunt and the cousins of Father Michael who invested him with his own first chasuble the day of his ordination. Something to remember not just when wearing that special red chasuble, but also this white one on ever more happy occasions to come.

Speaking of inspiration, the other two figures represent the patron saints of the most important parishes in which the priest in question has served: Saint Benedict of Nursia, in his monastic habit represents his childhood parish, and church where he said his first mass. The confessor kneels opposite Saint Philip The Evangelist, who had been one of the original Seven Deacons in Jerusalem, and is the namesake of the church where Father Michael says mass now.

Detail of the Kissing Cross on the Priestly Stole.

So there you have it. From the broadest sight to the smallest of details; for the farthest spectator to the most inquisitively near-sighted inspector: The Rhapsody in Blue chasuble should be as good as any other instrument in the work of evangelizing those who should wonder or ask "why the blue?" or "what does the little cup mean?".

When everything has a reason, and the logic is ever to point to the source and ends of all... we should be satisfied that a good thing has come to be. And so, it is. The design, from the mind, onto the paper and into the stitches in thread, now too: is as it ought - put to the good service.

A Kiss On The Hand... Is Quite Continental!

noreply@blogger.com (KLAVE CENTESCA) — Mon, 17 Dec 2018 19:53:00 +0000

Today I think is appropriate to speak of the besamanos, which in French is called baise mains, bacciamano in Italian, and in Portuguese we refer to as a beija mão. It is the act of kissing the hands which is part of our cultural patrimony throughout Christendom... though not as popular in some parts as in others.

December the 18th is the beginning of the octave to the Nativity of Our Lord, and in Spain, since the 7th century, we celebrate the expectant Virgin. We spoke of the iconography on the last post which you can consult here.

As we discuss in our book about the Gothispanic and Early Mozarabic Rite, the object of devotion, the one we show reverence or dulia-to is placed in the middle of the choir according to our ancient tradition. (We also speak of that here, and how even in Rome this is still done for the Christmas mass... though only for that one).

So, in Spain, where rather than icons, polychrome statues of surreal perfection came to be the artistic expression which the-faithful-hands-of-artisans found, and harnessed, to manifest their own devotion: we get life-sized images of the virgin and the saints which are taken out in processions and on their feasts, are placed in the middle of the choir to be remembered, feted, and venerated. This is mostly just in places like Seville, Malaga, Cordoba and other particular sees... but worth noting.

Veneration, we must explain, is different from "worship" in the sense some people accuse.

God alone is honored with latria or mirrored-heavenly worship such as with the singing of the Sanctus, Hallelujas and the mass itself - whereas the lesser sort of "earthly worship" which we call dulia (or hyper-dulia in the case of the Theotokos, The Virgin Mary, as defined in Greek) is more aptly called veneration.

A kiss is to Veneration-Dulia what Absolute-Surrender is to Latria. The later is expressed to God alone, whereas veneration is shown to the Saints, and all that is holy, or one wishes to honour here on earth.

Here are the four recognized levels of "worship" or "recognition of worth" if we understand the etymology of the word "worship":

The simplest is a bow of the head, the neck or waist.

A bow is an explicit acknowledgement or concord between two persons. Especially when it is simply a bow of the head, it is known as a nod. It can express assent or even a hello. The honor, or recognition of worth of the other, is achieved by his or her acknowledgement.

A reverence is one step above a nod but below veneration, and it is the sort of curtsy or genuflecting one does as a sign of respect. One does it to the altar, a magistrate, an assemblage of person upon entering a room, or an exalted personage. It acknowledges a difference in rank, as the lowering of the body, often by bending the knee, manifests a courteous humbling in front of a person or thing we salute as greater than ourselves - in piety, in power, authority, office or personal virtue...

Death is also acknowledged this way, even by princes, when royal standards fly at half mast or are draped in black.

A veneration, or the act of kissing the robe, the hand, the forehead, or the ring of someone is a step above. It is an act of devotion above mere respect. It is an expression of love, superlative care, honour or an acknowledged bond, admiration, or closed hierarchy. Whereas a bow or a reverence can be done from afar, an act of veneration denotes a familiar proximity. It is not uncommon in certain families to kiss the hands of their grandparents, parents, priests, princes and other persons with who they may have a relationship which merits such a sign of utmost respect.

Adoration, again, is even a step above and should be rendered to God alone. Such is the commandment. It is usually reserved for the manifest or symbolic manifestations of God: at The Sanctus, at the Sacrifice of the Mass, to accept the Eucharistic Meal, or contemplate the Holy Presence at a monstrance as many do. He is manifest also in the poor and the hungry which the Church must embrace in Charity - and reason why the priests kiss the feet of the poor on Maundy Thursday. It is also the stance we take when receiving a solemn benediction when God is invoked. For statues representing God, it is usual to kiss the feet - be He the babe in the manger, the adult during the passion, or his cadaver, tenderly cared for during the Holy Triduum (in some parts) before the entombment in view of the resurrection.

It is exactly what is done in The Roman Rite on Good Friday too, when the priest and the faithful also go up to the crucifix and kiss The Christ. Though, truly, the Spaniards make it a bit more traumatic in its realistic depiction of the wounds, the blood and glass or resin tears on his mother's face... often reflecting inside their frozen form, the collective empathy from those gathered to witness the reverent re-enactments before the Resurrection. People do cry as though it really was a loved one ... and perhaps, rightly so. It is very moving to experience Holy Week in Seville, where even cynics (I have witnessed) at certain points break down and shed themselves a tear... or an ocean's worth. And perhaps empathy is the key of it all!

That said, what we show to The Saints (the heiligen, the holy) is generally a form of veneration. This is why holy relics are kissed, the consecrated colours, the vestments used at the altar, the altar, and sometimes, also the icons or statues which represent the memory of one such exalted, holy person. That: includes The Virgin Mary.

On Her feast, the pregnant virgin is placed in the middle of the quire of the Church, as anciently done for other things and persons which are holy, live a holy life in the sacraments, or die within them (according to our tradition).

Her devotees file past and kiss her hands. These days, she has many feasts and advocations celebrated throughout the year - for some, she will hold the baby Jesus, but for her peculiarly Gothispanic Feast and Octave to The Nativity, since the seventh century, in Spain, the child is inside her belly. The Virgin is still pregnant, expectant, and quite full of Glory:

This is called her besamanos. And people perceive it as wildly strange outside of our cultural milieu. In America, for example, many find it quite distasteful...strange... and uncharitable accusations of idolatry are often shouted without a second of discernment to understand WHAT is going on.

This particular tradition of placing the life-sized Virgin and having people pass by to kiss her hand is mostly an innovation introduced only a couple of hundred years ago... just an extrapolation, however, of what in smaller scale is millenary in the continent, and particularly, our peculiar tradition in what is today Spain, Portugal and the south of France.

These Spanish besamanos, instead of just kissing a relic or small representation of the virgin, begin in the context of social unrest in which the monarchy had been contested, abolished, detested and defended by fellow countrymen which ultimately leads to a Civil War... many changes in government, in heads of state... a republican era, a dictatorship... two world wars... and the church herself was suffering the period in which all her assets were nationalized, religious edifices burnt, thousands of priests murdered, and the last of the colonies had declared independence... it was just a turbulent time for Spain, especially from the late 1800s and about a century long. These are not statues:

The expectant Virgin, La Virgen de La Esperanza (of Hope) was a rallying point in the darkest days (the autumn which turned to winter) and the faithful needed to cling to The Hope symbolized by the Nativity an octave later. An immutable axis of motherliness to withstand the chaos...

It was also a way to maintain the ritual act of kissing the hands which no longer were favored in the new societies that were emerging. In Spain, Portugal, France, Russia, Austria, Italy, and everywhere a monarchy had existed before the First World War, the baise-mains was a normal affair.

In Rome, every Public Consistory included one such ceremonious hello!

Today, still at Christmas and when the Pope visits a country, the prelates there line up to greet him up close, though more modestly dressed.

The Virgin's besamanos is also done in rather casual clothes. It is a popular feast, not something reserved for a few. It is accessible. And yes, a bit strange in the midst of modernity. Archaic... like everything The Church preserves in her cultural droplets of ambar - sometimes to wash in the foam of distant shores.

Outside the church, it is normal to have one's friends pay court on your birthday and name-day, Easter, Christmas, and also on your baptism, wedding, or at the funeral of someone of whom you are the heir or officially represent. To pay court, render tribute, homage, or a pleitesia are archaic things to most modern minds - yet it is no different than greeting a line of friends when they or one weds, baptizes the children or at one's parent's funerals even if now people call it by another name and seldom bow or show much reverence even during official acts.

The besamanos is still practiced on the occasion of state visits, gala days, etc. in Spain - even if no one, these days, would generally kiss the hands of an un-anointed monarch whatever their title. Their wives, however, still sometimes get the courtesy of a kiss on the hand.

An ademan, however, which is the motion-as-if-to-kiss-the-hand but without actually kissing it, is what is most often done on such official occasions. No contact of the lips. There is both a pious need to do the gallant thing, yet a reticent social force which prevents most from going in for the kiss, it seems. Political correctness. Except with the French. So here, in a time honored tradition of this blog: a little Merkel to seal it all - because her expression tickles us as much as dear Jacques' lips must tickle her hand! ...And soul! Ja! :)

Happy Feast of The Expectation! Let The O-Antiphons begin!

And The Virgin is Quite Pregnant!

noreply@blogger.com (KLAVE CENTESCA) — Fri, 14 Dec 2018 18:52:00 +0000

After the celebration of the Virgin of Guadalupe, patroness of the Americas, a child asked us "where is the baby Jesus?!" which stands to reason, as all depictions (it seems) show the Virgin holding the Christ-child. Lupita, does not.

The simple answer, of course, is that Jesus remains in her belly! Which at a certain age, it is still as paradoxical as Shroedinger's Cat to many an adult. So many questions followed.... but the humorous anecdotes we shall leave for another day.

The Virgin of Guadelupe is almost an anomaly... for Catholics after the sixteenth-century Tridentine Council. But She is an embodiment of the expectant virgin which since AD 656, is celebrated in the rites canonized by the Councils of Toledo.

The date falling within Advent is quite telling. The feast of the pregnant virgin is instituted for the 18th of December (which begins on the eve, at sunset of the 17th). This ancient feast was declared in order to honor the pregnant Virgin since the March-25th date fell during Lent, when no other feasts, solemnities nor memories of saints was allowed in the national rite of the Goths and those under their rule from Toledo. Most apparitions between March 25th and December 25th, show The Virgin as pregnant, in our tradition.

Guadalupe is not an anomaly. The Virgin of Lourdes appeared in similar guise in what today is France.

So did the Virgin of Fatima, in present day Portugal.

The virgin in the loose robe, with nothing but a bow around her high-waist is not an anomaly. It is part of our symbolic language, tradition and culture as manifested directly from heaven. The baby is inside. The iconography is not accidental.

Actually, before Trent, it was not just in present day Portugal, Spain, France and their respective colonies that one saw a pregnant virgin.

Even the eastern rites maintain their version.

The orthodox have Her as The Virgin of the Sign. The Holy Fetus is depicted fully formed inside a luminous circle which references the "blessed is thy womb" of our Hail Mary.

Such imagery, were it current still... perhaps would help dissuade the Christians who favor abortion? An image of literal love even inside the womb, versus the graphic ones of dismembered fetuses outside of them? (Just rhetorical).

Here are a few examples of the pregnant Virgin (Maria Gravida) from Germany:

And even Italy before the Tridentine Reforms:

And from France:

Portugal:

And of course, Spain:

It is a shame that eventually it became taboo to be pregnant. Even for The Virgin who never showed such a scruple when appearing to her blessed devotees... from antiquity to recent times.

We call her Maria de la O (in reference to the O antiphons intoned in her octave leading to the Feast of The Nativity: Christmas) but also call her Our Lady of the Expectation (she is, after all, expecting child) and also as Maria de la Esperanza: for it is in her uterus that The Savior is gestated... the source of all Hope-Esperanza.

But being enceinte-encintas, that euphemism which references the high-waisted girdle of the pregnant virgin, also remained ingrained in the words we speak. It is still the polite way to refer to any pregnant lady.

Whether the holy fetus in her belly is clearly exposed, or not, she is ripe with child: The Virgin of Advent. And this is Advent. We remember, and thank Her for accepting the task of carrying the baby to term, her labours and the blessed fruit of her womb, Jesus...

...sometimes even with a baisemains-besamanos-beija-mão but we'll explore that on another post. Happy Advent!

SEX CAPPARUM: And a New Book to Explain it All.

noreply@blogger.com (KLAVE CENTESCA) — Tue, 13 Nov 2018 20:43:00 +0000

Here's a somewhat quick design for the celebration of a Solemnity which we call Sex Capparum on account of requiring six cantors vested in copes (cappae in late Latin).

Sex Capparum is the the term used for the triple celebrations in the Gothispanic and early Mozarabic Rite.

You can read about this and much more in our treatise on the matter now sold through Amazon.

It entails the decoration of all "three choirs" (the area of the altar, the area of the choir proper, and the area of the nave) with wall hangings, carpets, flowers, greenery and whatever else is customary.

The triple choir refers also to the the fact that "one choir" can mean a pair of choristers as required for the Memoriae II Capparum and the two pairs required for the Festa IIII Capparum.

Three choirs is generally interpreted as refering to the the three spaces (altar, quire and nave) occupied by the good Christians, but also the three pairs of choristers that from the north and south, facing each other, will sing the complex melodies of the celebration of a Solemnia VI Capparum.

For the solemnities, it is these six members of the chapel who vest in copes who are in charge of the melismatic singing peculiar to the Rite and is known as Eugenian or Melodic Chant.

The difference between our Eugenian Chant and the Gregorian Chant of the Roman Rite is the profusion of melesmas or florid adornment during sung vowels. In Gregorian Chant one sings many syllables on one note, whereas we sing many notes for each syllable. (Think of the word Gloria from the tune of "Angels We Have Heard On High" as an example of our melodic chant... as it heralds from Languedoc, our Provincia Narbonensis!)

The image, besides the position of the six Caperos that constitute the triple choir, shows the relative positions of the Lector, Subdeacon, and Deacon for their respective readings.

The celebrant seats "ante altare" since the curtains to the altar are open from the beginning of vespers which is the start of the Liturgical Day on account of the mass not being a Feria.

This allows the deacon to occupy the central tribune (aka pulpitum in Latin or chaire in French) near the altar which is where the celebrant seats when the altar remains veiled on the Feriae until the Sacrificium (which is the equivalent of the roman Offertory).

The Lector and the Subdeacon reads the first two of the three readings, the Prophetia and Apostolus, while standing on escabeles - small movable steps which raise them somewhat to be better heard by the people beyond the chancels of the roodscreen. As we discussed here, the roodscreen is in Germany called the lettner, for it was from here that the readings took place. In the Use of Sarum, albeit with its variations, this was also observed:

In the middle of the choirs ("in medio chori") stands the bema (another movable tribune) with the object of the celebration - be it icon, image, baptismal font, bride-and-groom, catafalque, ordinant, or the Gospels as in the Feriae.

In this case it is a representation of the newborn Jesus in a Manger, which tells us that the scene is during the readings preceding the Mass of the Nativity on Christmas Eve. Something of this use can still be seen in the mass at Saint Peter's Basilica at least on Christmas albeit not being the most common thing to see in the Roman Rite:

And the eastern orthodox churches also still place icons in this position to this day.

This set up is for public worship at a parish church, since architecture determined the degree of architecture allowed, the form and rubrics to be followed. We have worked on a book on just these peculiarities of the Gothispanic Rite and early Mozarabic which did not survive past the reforms of the Cardinal Cisneros onto the Hispano-Mozarabic Rite celebrated in Toledo today, though vestiges of them dot the particular uses of many of the Hispanic provinces even though they follow the Roman Rite.

This project has been more than a decade in the works, and we feel it should add some light to the peculiarities of the Gothispanic and Early Mozarabic Rite not as some sort of archaism, but a link between the liturgies of The Church before schisms and ruptures with tradition left her wanting of these intangible, cultural treasures.

Get a copy! Just click on the Book cover and then you know the steps. Ultimately, 20% of all Profits go to Charity. The rest, to fund research for future tomes and translations.

Many thanks for your interest and support!

NO FAT TUESDAY FOR THE MOZARABS

noreply@blogger.com (KLAVE CENTESCA) — Thu, 22 Feb 2018 15:07:00 +0000

In the Gothispanic and Early Mozarabic Rite, Lent begins on the Monday preceding the Roman Rite’s Ash Wednesday. Tuesday, then, is not a time for carnival (saying goodbye to the meats) but rather, the Sunday prior.

Our Carnival occurs on the Sunday “In Carnes Tollendas” which translates to “When the Meats are Removed” for indeed, fasting begins the following day: Monday.

With that Monday, then, begin the 40 days of Lent or preparation for the Pascal Mystery.

If you count the days, however, there seem to be 46 days in Lent, not 40 but there is a couple of technical reasons for this:

1- The six Sundays of Lent are not counted as fast-days, for they are Feasts of the Lord. This is signified by keeping the altar visible from the Vespers around sunset of each Saturday until after the Sunday mass is achieved. We must remember that the altar remains veiled by curtains on all of the feriae, and no memory, feast or solemnity is celebrated during Lent in this Rite… not even that of Our Lady on March 25, for which the 18^th of December was invented instead - Her Feast of the Expectation that initiates the octave to Christmas. For Lent, the altar remains veiled for 40 of the 46 days except during the canon of the mass.

2- In Holy Week, meaning the feriae after the sixth Sunday of Lent (aka Palm Sunday) includes Monday, Tuesday, Wednesday and Thursday. These four feriae plus the six feriae preceding the six Sundays of Lent are what yield the 40 days of fasting 4+(6x6)=40.

3- Holy Thursday is included because liturgical days begin the evening prior. Thence, the Quinta Feria begins on the evening of the Cuarta Feria of Holy Week (Wednesday evening).

4- The Extraordinary Service of The Institution of the Lord’s Supper which is celebrated as the beginning of The Holy Triduum is thus, technically, after the 40 days have been achieved. It is performed after the reconciliation of the Penitents and last instruction of catechumens so they may partake in the Pascal Mystery achieved by Easter.

5- The Triduum in Tenebris is not part of Lent. The stripping of the altar, the curtains and extinguishing of every last light signifies the darkness (the Tenebrae) which can and will only be resolved with the lighting of the new fire on the beginning of the Resurrection (Easter Vigil which begins on the Sexta Feria which is Holy Saturday).

6- During the Triduum in Tenebris, no lights are lit in the churches for the sake of ceremonial contrast against the Easter season of light. For this reason, the liturgical functions such as the exit from the church after the expoliation of the altar on the Fifth Feria (Holy Thursday), Veneration of the Cross on the Sixth Feria and the Gathering of the faithful before the lighting of the new fire on Holy Saturday (Easter Vigil) occur during the day (usually around 3pm or “hora nona”). That way: there is no need to light candles and the symbolism is preserved. The natural sun light is otherwise blocked by window curtains or shutters according to the rubrics.

APPENDIX

Feast -0 Sunday In Carnes Tollendas (NOT part of Lent)

First week of Lent, called “In Carnes Tollendas” 6 Feriae

Feast - I Sunday of Lent +

Second week of Lent 6 Feriae

Feast -II Sunday of Lent +

Third week of Lent 6 Feriae

Feast -III Sunday of Lent +

Fourth week of Lent 6 Feriae

Feast –IIII¹ Sunday of Lent +

Fifth week of Lent 6 Feriae

Feast -V Sunday of Lent +

Sixth week of Lent 6 Feriae

Feast -VI Sunday of Lent = Palm Sunday +

Holy Week 4 Feriae²

___________

40 days of Fasting

***

The 6 Sundays are not counted, for they are not days of fasting on account of being celebrated as Feasts of the Lord.

Of the 40 days of fasting: 36 are the Feriae in during Lent, plus the 4 days of Holy Week prior to the beginning of the Liturgical Triduum.

***

1-IIII is used instead of IV in the Gothic Kingdom and the liturgical texts of its tradition in the Hispanic provinces and Gallia Narbonensis.

2-Holy Thursday (the 4^th Feria) has its ordinary vespers, matins and mass before the “extraordinary” mass that commemorates the Institution of The Lord’s Supper, Stripping of the Altars, Washing of the Feet and Charity Meal for those who had their feet washed - ceremonies which begin and form part of the Holy Triduum. It is deemed extraordinary, in part, because of its extensive and particular rubrics compared to all the other days preceding it.

This is part of a couple of books which we are in the process of editing, explaining the rites and rituals of the precursor of what you may know as the Hispano-Mozarabic Rite which is a result of the 16th century Cisnerian reforms.

Our aim is bringing to light the earlier practices in hopes of enriching the patrimony of the Catholic Church with aspects which have been re-interpreted through modernizing paradigms and interpolations which ultimately has created new forms and forgotten some of the old. Part of this, a key to decipher Eugenian Chant and later Mozarabic Chant.

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No Sex Capparum For Lent

noreply@blogger.com (KLAVE CENTESCA) — Mon, 19 Feb 2018 21:50:00 +0000

Here's a somewhat quick design for the celebration of a Solemnity which we call Sex Capparum on account of requiring six cantors vested in copes (cappae in late Latin).

Sex Capparum is the the term used for the triple celebrations in the Gothispanic and early Mozarabic Rite, which is forbidden throughout Lent even if it were the feast of your Patron Saint.

It entails the decoration of all "three choirs" (the area of the altar, the area of the quire, and the area of the nave) with wall hangings, carpets, flowers, greenery and whatever else is customary.

The triple choir refers also to the the fact that "one choir" means a pair of choristers where one faces north and the other south at the quire of the church. Alternatively, one simple choir is required for the Memoriae II Capparum (Simple Feasts) and the two pairs required for the Festa IIII Capparum (our Double Feats).

The three pairs of choristers that face each other from the north and south will sing the complex melodies of the celebration of a Solemnia VI Capparum.

These six members of the chapel who vest in copes for the celebration of the Hours and Mass of the greatest feats, are in charge of the melismatic singing peculiar to the Gothispanic and Early Mozarabic Rite, known as Eugenian or Melodic Chant.

The difference between our Eugenian Chant and Gregorian Chant (as coined in the Roman Rite) is the profusion of melesmas or florid adornment during sung vowels. In Gregorian Chant one sings many syllables on one note, whereas we sing many notes for each syllable.

***

The image, besides the places of the six Caperos that constitute the triple choir, shows the relative positions of the Lector, Subdeacon, and Deacon for their respective readings.

The celebrant seats "ante altare" since the curtains to the altar are open from the beginning of vespers which is the start of the Liturgical Day on account of the mass not being a Feria.

This allows the deacon to occupy the principal tribune (aka pulpitum in Latin or chaire in French) near the altar which is where the celebrant seats when the altar remains veiled on the Feriae until the Sacrificium (which is the equivalent of the roman Offertory).

This is all part of an introductory text on the Gothispanic and Early Mozarabic Rites in the works, whose aim is explaining some of the particular liturgical practices which have not filtered through the Cisnerian reforms of the sixteenth century to become what scholars have reconstructed into the Hispano-Mozarabic Rite.

We already spoke about the importance of architecture in the liturgy designed by Saint Isidore (patron saint of the internet! yes..) and the other bishops of Spain from the 6th thru 11th centuries here.

Along with this, we are preparing another introductory text on Eugenian Chant with a key which we hope will help the music scholars decipher our apparently elusive neumes.

As now it is Lent, all altars remain veiled, no melodic singing, organum or for that reason, choirs vested in copes are allowed. No Gloria, no Allelujas, no carpets, no flowers, no bema-tribune with icons or statues in medio choro nor days in which the curtains of the altar remain open for longer than the duration of the mass (other than Sundays). None of this shall be again until the Vigil of Easter - when instead of the Newborn Jesus (of the image here), the Pascal Candle (or sometimes with it the baptismal font) will be center-stage.

All time of preparation is in faith of a Resurrection if we have faith, is it not?

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More concrete details to follow soon.

A Chalice Pall Original

noreply@blogger.com (KLAVE CENTESCA) — Tue, 16 Jan 2018 18:56:00 +0000

Last December we had the honour to work on a Chalice Pall for Canon Francis Altiere of the Institute of Christ the King in Kansas. This is a square of linen stiffened with board which is used to cover the chalice while it is at the altar. This prevents foreign objects (which can range from pieces of plaster from the ceiling to gnats, or even the strong aroma of the incense) mixing with its contents. As with everything connected with the honour and glory due to God, it is fitting to render it as beautifully as our humble hands and imaginations can manage. This is the result of our latest efforts:

It was a special piece since we worked on it through the Feast of the Expectation (also called "Maria de la O" because of the "Oh-Antiphons" sung that week) which is the octave preceding Christmas. It paralleled the labors of the Virgin Mary and by the 25th, as the new-born King was celebrated, so too His name had already been embellished with these pearls on Wisdom in the pall.

Aptly, it reached Canon Altiere in time to be used for the Epiphany. You can see images of the celebration at the Old Saint Patrick's Oratory facebook page.

We would like to share our process towards making our one of a kind pieces when we are commissioned here at Klave Centesca.

We usually have an initial communication to understand the purpose, place, and circumstances for which the work is required. Sometimes it is the look of a chalice, style of an altarpiece or time period which sparks the imagination.

The image is then translated into a couple of design options. In this case, we had discussed a sunburst with the IHS in the center, perhaps embellished with some pearls:

From the initial choices, we have a starting point to tweak the design further. We always aim at creating a one of a kind piece.

Once digitized, we discussed a few other options and came up with these further variants after settling for the "Romanic" border with pearls.

Then which trim to choose?

And finally after we convene on the final details, the piece is finished.

The Chalice Pall with Pearl Embroidery in white Linen and Gold commissioned by Canon Francis Altiere, Christmas 2017

Picking and choosing from the different options is always a possibility, as in this case Canon Altiere suggested using the same metal flowers he had seen on a mitre we did a couple of years ago but without the embroidered rosettes:

As you can see, this is why we always call our pieces a collaboration. Coming up with something extraordinary is our mission, but greater things always come out when we work together with you.

Be mindful that all the other unrealized designs are still available to commission, all you have to take is the first step and contact us by writing to info@klavecentesca.com

Happy New Year to All!

May Christ's Light Shine on All.

The Instruments of Peace

noreply@blogger.com (KLAVE CENTESCA) — Sun, 09 Jul 2017 22:33:00 +0000

Today, we will highlight a little liturgical trinket which we call The Instrument of Peace, Portapaz or Oscularium which are as descriptive of a name as those paintings called "Child with a chair" that contain quite rightly: a child and a chair.

Portapaz of Christ-Child ON a Chair... just pure coincidence :)

It is the Instrument of Peace because it is used during the part of the mass in which the Peace is ritually required in order to proceed with the Eucharistic celebration. That part where you normally turn to you neighbor and shake hands or kiss them as a signal that you do not hold grudges, or if you did, you forgive them so that the Peace of the Lord is manifest and all can proceed to take communion... having "forgiven our debtors" ... (Hint: It's in the 'Our Father'!)

It is often a piece of embossed, carved, bejeweled or embroidered panel which is kissed by the priest and taken round to others to kiss also. Hence, it is called an oscularium (osculo=kiss in Latin).

The Archbishop of Santiago de Compostela maintains our tradition of kissing an Instrument of the Peace - one of many in the wonderful collections of the Archiepiscopal Treasury.

In the back it has a protuberance in the form of annulus or hook so the cleric who carries it ("the symbolic peace of the Lord") can better handle it without dropping it or faltering in his grip.

There are quite beautiful examples of it, and indeed its use spread at certain points to different rites across Christendom. It has been used in England, in Italy, France, Germany, and of course, Spain and its places of influence in the New World.

This is the Portapaz of Pope Leo XIII in the Vatican Museums which also hold a treasure-trove of Portapaces:

Its use stems from the particular solution in our GotHispanic Rite, and its Mozarabic branch, to conveying the peace during the Feriae from the celebrating priest at the altar, to our family or our representatives occupying the second-floor tribune at the western or northern end of the nave or transept. Conveying the peace with a Portapaz via a cleric in his surplice (or further with an esclavina or manteo too if privileged as an Almoner) then allowed for the 'ritual peace' to be taken from the celebrant's lips, and up the stairs to the tribunes of our particular chapels, without the priest or his ministers needing to exit the sanctuary nor the persons in state descending - which would cause unnecessary distraction to the rest of the faithful for an ordinary day. In our rubrics it demands that it only be used on the Feriae, and not on the memories, feasts or solemnities, when instead of the tribune we occupy part of the choir. Since time immemorial, however, it has become customary to use it on these other occasions too since it is easier to have the cleric pass in front of the prie-dieus and offer the Portapaz in succession without anyone having to stir much as done for the Communion; everyone else present gives and receives the peace in the customary manner.

As occasions demand, sometimes two instead of one Oscularium is used to carry the peace to those in the Choir: one for those on the North and another for those in the South. This is especially the case where the the men and women segregate on specially solemn occasions. Four Portapaces are used thence where nuns occupy one choir or enclosure and monks the opposite one at a monastic basilicas catering to communities of the both sexes, which in essence constitute a double transept or choir so all may do as the Deacon proclaims in a loud voice in our rite: "Quomodo astatis, pacem facite!" = As is your state/Where you Stand, make peace!

In yet other places it is now taken to a specific spot and people line up to kiss it - which is a new invention. In the other rites, however, the command to give each other the sign of the peace is not as specific as in ours. In either case, lining up to kiss it treats the instrument of the Peace as a relic, and though the object is often carved with images, scenes and representation of God, Saints and Holy things, it is not a reliquary nor is the purely-ornamental image to be venerated. The object is supposed to convey the Peace in a manner that is less disruptive to the liturgy, not to become a distraction. We hope these things are taken into consideration, though obviously each particular culture and setting should provide for its own norms, and the rest respect them as long as they do not deviate from the central teachings.

In any case, we have it held with the left hand, and wiped with a linen towel held on the right hand. In the Roman Rite, those privileged to use it by papal dispensation from the 16th century on, hold it with a humeral veil instead:

So with all that, Peace be with You!

As our nuns from San Pelayo sing:

Pacem meam do vobis, pacem meam commendo vobis:

non sicut mundus dat pacem do vobis.

Novum mandatum do vobis ut diligatis vos invicem.

Pacem meam do vobis, pacem meam commendo vobis:

non sicut mundus dat pacem do vobis.

Gloria et honor Patri et Filio,

et Spiritui Sancto in saecula saeculorum. Amen.

Pacem meam do vobis, pacem meam commendo vobis:

non sicut mundus dat pacem do vobis.

Pontifical Gloves

noreply@blogger.com (KLAVE CENTESCA) — Fri, 07 Jul 2017 18:27:00 +0000

Pontifical Gauntlets are one of those things we do not see too many of these days... so we are always happy when we have the opportunity to make some. These pairs are on their way to Hungary. We couldn't wait any longer to share the story though, since it highlights what we enjoy doing best: learning about history and making new things which can relate to the past so traditions survive at least on our watch.

Pontifical Gloves by Klave Centesca With Embroidered Gauntlet Cuff inspired by Hungarian Coronation Chasuble

The purple ones we hinted at before on social media, and here they are:

The design of the cuff, because they were made for the Hungarian Church, we thought it would be nice to find inspiration in some of their beautiful vestments from the past. Looking through the various collections, we found this:

Chasuble used at the Coronations of Hungarian Kings

It is a gold chasuble embroidered with tiny seed pearls using the traditional Hungarian tulips motif. It even has amethysts and other jewels running down the centre - making it quite literally, a "planeta pretiosa" or precious chasuble which begs the question: where is the matching precious mitre?!

The said chasuble is unlikely to be worn with the pontifical gauntlets we have made at Klave Centesca, but if we had to find inspiration, where best? Instead of pearl embroidery, we have used the raised goldwork which is more traditional for these liturgical gloves worn at pontifical masses, and we are quite happy with the effect of them. But with custom work... the possibilities are quite endless.

Here's a couple of different projects from the past:

Pontifical Gauntlets with English Roses, French Fleurs and Canadian Maple Leaves

Pontifical Gloves with a Jesuit Sun.

And a guide to some of the styles:

Does your bishop have pontifical gloves?

Armorial Amicorum

noreply@blogger.com (KLAVE CENTESCA) — Tue, 13 Jun 2017 16:58:00 +0000

So... the world takes us all in unexpected adventures. When we began Klave Centesca it was both as a means of funding our private charity work, and also encouraging the use of embroidered coats of arms on the vestments of the Catholic Church as in olden days... especially in the USA.

First off, most of our commissions came from places outside of the US. That has been fun and expanded our horizons. We've come to make things for England, Scotland, Poland, Hungary, Italy, Vatican City, Canada, Australia and even Madagascar!

We've also made more than just things for the Catholic Church. Through these things we do, we have found great friendships and charity and peace with Anglicans, Lutherans, Episcopalians, Methodists and even the Jewish lady who not only sold us our machines! She has been a great friend thereafter and helped us use hers to finish embroideries when our machines have been away for repairs. A true Godsend.

If there is one lesson, I'd say that it is good to be open to the possibilities of more than mere transactions, ultimately we see everything we do as collaborations, and the results are always extraordinary because of it.

Speaking of collaborations, I should like to highlight one with some one who has become a good friend, Captain Jason Burgoin, who yesterday received his grant of arms from the Canadian Heraldic Authority in a private ceremony.

Again, we never thought to be making things outside of the church, but heraldry has been a link into these other interesting areas which we are so glad to have become acquainted with. The CHA is a wonderful institution commissioned by the Governor General and in the name of Her Majesty The Queen Elizabeth II of Canada (and the UK, etc. etc. etc.) to research and execute these heraldic affairs for Her people of Canada. It is innovative and refreshing, and active, which is a joy to witness in this day and age. The Captain, our friend, represents the Royal Heraldic Society of Canada in Toronto. And I think we have both learned things in our discussions, which are ever so interesting.

One day we spoke of the old Liber Amicorum (or book of friends) so popular in the 16th century and even into the 19th. In these, friends, would write a blurb, or a poem, draw a picture, artistic representation or simply sign their name for you. In essence it is a grown-ups version of a school year-book or even of a face book... I mean Facebook.

On the other hand, there was also the tradition of collecting images of the shield designs and achievements of armigerous persons in hand-painted books called Armorials. For people who have friends with coats of arms, and perhaps enjoy coloring and painting, it is a nice idea to combine the two and somehow the Armorial Amicorum was born. It is a book where one records the arms of friends, and has them sign or write something special on the page dedicated to them. It becomes a record of friendships made, grand times, and a good resource for historians hundreds of years from now.

The Armorial Amicorum is also inspired by the old visiting-books one keeps at home so all special guests may leave record of their congress, but in it, not only royalty gets a dedicated page, but rather, each friend receives equal treatment. For this, the book has to be blank. It is an album, but its purpose must be marked in some way. Bookbinding is a fascinating art, and in yesteryear it was not uncommon to combine it with other forms: metal plates, carved ivory plaques, gemstones, and yes, also embroidered covers:

The 3 sizes on display in front of the heraldic banner of Captain Jason Burgoin of embroidered satin by Klave Centesca.

We've made them in three sizes: The Country Squire is the briefest, which makes it perfect for travel. The Lord of the Manor is the medium sized one which is still practicable for traveling, but large enough to make a nice conversation piece in a room for company. And the The Great Estates, which is the largest with its pages spanning 11x14 inches and more ideal for a grand foyer or large library.

Maybe it catches on? Remember you heard about it here first though. It is definitely something of an heirloom and bound to collect history in its pages (pun intended).

In the age of books with dust-jackets, and Kindle, we thought we should bring back a little of the splendor of years past. So this is what we made for Jason.

Final proof of frontispiece embroidery before execution.

For this particular design we used the arms of the owner in the centre, as per the blazon at that time authorized by the CHA though not yet officially granted until yesterday. The shape of it is inspired by the pediment of the Cathedral of Havana, our birth home, and a place Jason has visited and has fond memories of. It is the closest to a self portrait or a signature that we could approach! Plus, the baroque lines seemed to work well with the representation of the whole. Everything else reflects the Canadian content which the armorial will enclose. The corners are maple leaves and the borders alternating English roses and French fleurs-de-lis.

First fruits shared of the embroidery.

On the back side, we reinterpreted the personal badge granted him, which is a heraldic tyger of red.

On the inside cover was embroidered a poem:

And on the inside back cover, the Canadian Army Badge.

Absolutely exciting to make and collaborate, and we hope that from its first use upon his official Grant of Arms, and thereafter, many worthy and true friends sign its pages. Maybe even the Queen! The world moves in unexpected ways.

What great fun it is!

Spatial Progression in the Liturgy of the Gothispanic Churches, An Allocution

noreply@blogger.com (KLAVE CENTESCA) — Fri, 09 Jun 2017 19:28:00 +0000

I would like to share an allocution which I was invited to give some months back in front of a theological group and a few lay persons ever at odds between the "ad orientem" and "versus populo" discussion in the context of the celebration in the Mozarabic Rite. I hope it makes sense once translated into English as one hopes it did in its original Spanish. The context, of course is the architecture of the extant churches of the kingdom of Toledo and later of Oviedo when and where the Gothispanic Rite was codified and from which the Mozarabic descends. The code in question is the collection of the canons enacted at the eponymous Councils, though they will not be quoted specifically. Some things were too obvious to codify and since this part of our own cultural patrimony is often overlooked or forgotten these days, even in the welcomed revival of Our rite, we think it is important to remember certain particularities. The erosion of tradition is disfiguring sometimes, and reconstruction can see reinterpretations of old things into... odd things. It baffles, but it can also be a window into deeper discussions. So we hope our bits can serve to fill some of the lost pieces of the puzzle, at least in our limited context without causing offense to anyone. Worthy too are the other traditions out there, but stewards we are of this one. Reflection... it is reflection that we aim for, always. So heavenwards and down: Dominus sit semper vobiscum!

Communion is not a magic potion or cure-all panacea; communion is the climax of state of Grace in fulfillment of the precepts set forth by Our Lord and proclaimed in the Gospels. The liturgical stages that precede the Eucharistic Meal are therefore, to be seen as integral parts of the said progression, of life itself: from being apart from God, to being near Him, with Him, and in Him. These stages were also most clearly seen in the architecture of our early churches and the diverse groups of people that were contained in each space there.

One entered the temple by the western door onto the narthex or portico. This is the covered space which is farthest from the altar at the east. There is a linear axis to walk from the left, where the sun sets and darkness is; where an absence of God, who is the light of the world, but a hope that he will rise again. It is here that our journey begins: in this portico where the catechumens stand and attend the liturgies - they are far from the representation of heaven on earth at the opposite end, but are directed to it, and with due instruction and profession of faith, once ready and baptized, they can proceed. It is here too that the penitents must remain, but kneeling. They have wronged in ways that exclude their conscience and spirit from partaking in the communion until they expiate their sins. Penance is, however, not what so many interpret as excommunication, which bars someone from heaven and their candle is snuffed and their souls damned on earth so that may also be in heaven as the spiteful Roman Rite developed it in the second millennium - a political recourse because they held both the golden and the silver key - but in Our Church, this westernmost space was the farthest a Christian was allowed from God: Always with the hope that one can return to the nearness of Him as the liturgy predicates. Those not in communions still look East, to the Lord, and the point is to be ushered back in to the fold when they have purified their souls. This is where the concept of Purgatory comes from, and not a separate reality or concept. The western portico is the earthly purgatory: only those who are baptized, and are in a state of grace may pass through to the next space, which is the nave.

Between the Western Portico or Narthex and the Nave, it is worthy to mention the figure of the Ostiarius, which is the verger, sexton, Swiss, or Usher depending on the region where one lives: this is the door keeper, for ostiarius means just this. As in the royal palaces, this is the person in charge of letting through those in the grace, and ban passage with his verge or rod of office to those who are not yet, or have fallen from, that grace. We may live, in democratic or communist or otherwise egalitarian societies, and find it strange, but Church is a place of hierarchy and contrasts. East and West, Good and Evil, Worthy is the Lamb, but wretched is the devil and his subjects. The nave is the place for the lambs and the earthly paradise where they may safely grace. It is here that the faithful attend to the teachings of the shepherds of God: the bishops with their crooked pastoral staves, and the presbyters delegated by them to teach and administer the sacraments where and when they can't be present. The person exorcised is made to look West (even at Baptism) and when blessed, made to look East. Those who live in darkness are encouraged to walk towards the light found in the east. The Priest walks from the east, to bless and address them, to meet them, us, who walk from the west into the light.

At the Eastern-most limit of the nave, there is to be an arch or rood-screen, we call it a triumphal arch. This is where the faithful come to receive communion, and also from where the readings and the lessons are sometimes performed for their instruction and benefit. That is why in German it is called the Lettner. It is only crossed in those moment when the Christian fulfills his or her covenant and sanctifies their life with the purpose and meaning set forth by the Church in the rites of passage we call the Sacraments. It is indeed a triumphal entry and a privilege to pass through this gate onto the choir to be baptized or confirmed, to receive the nuptial benediction, sacred orders, and indeed for the exequies when we die in grace. The liminal space demarcated by that triumphal arch is symbolic of the importance of crossing it, and the fact that it requires preparation, and mindfulness. It highlights the importance of the rites when we are to approach it and cross it, for when we do, it is in fulfillment of our destiny: when we are most holy, and closest to God. What is beyond this arch is the ritual space par excellence: the choir.

The choir is called so because those who attend here are placed facing "each other" instead of east. This may seem antithetical to the axial progression, but there is wisdom to be sought in the things we do not understand at once. The choir is the place where the faithful comes to stand, alone or in the case of the nuptial blessing with their spouse, and receive the benefit of song and blessing from the east, where the celebrant pronounces his benediction, and from behind them, where their families and community of friends and neighbors rejoice in their blessing, but from the north and the south choirs too. It is not in vain that the choir is commonly called "the crossing" and in cruciform churches this becomes most evident: the choir is at the heart of the cross, and is the point of interception between the sacred and the profane: the place where God is invoked to bless us at those pivotal times in the life and death of a Christian. It is a square space, as the earth was represented, and has four corners, as we understand that the world is divided into north, east, south, and west. The choir is like the New Jerusalem, but here on Earth, now. That's where we hallow God's name and fulfill the precepts and the will of God for us to be saved. "On earth, as it is in heaven" is part of our Daily prayer, and this is the place where those who devote their lives to the service of the Church seat: Some in the north, and some in the south. It is the natural space of the ordained. It is where the canonical hours are kept and the holy offices read. It is the space where all fall to their knees and sing Sanctus!Sanctus! Sanctus! as we know the angels incessantly do in heaven when at the mass The Presence is invoked, and kneel also when the Gospel is read, and when the Holy spirit descends during a benediction. This is the space for those who have devoted their lives to God, whether cleric or lay, to live on earth as witnesses of the promise of heaven. This is the place where they pray, and make sure the Word and message of God resonates to the four corners, and not just in the west-to-east axis of the Christian life. It reminds us that God is the God of ALL and to ALL four corners of the earth, and not just those in our community. The sacrifice of his Son was for the redemption of ALL. The heart of the crucifixion is not just to save ourselves, but the whole world.

Beyond the choir there is another arch, or a chancel, a templon or what in the east developed as the iconostasis and in Rome reduced to a ciborium or baldachin. It is the area of the altar. It is the space where the table upon which the Sacrifice of the Mass is commemorated and in our faith, the bread and wine are consecrated into the flesh and blood of Jesus. This easternmost spot is the culmen of the Christian's path. It is heaven on earth and the holy of holies. This is why, like in the temple of the old testament commanded by God, it is veiled with curtains. In the Oriental Churches they made them into holy and royal doors, and in the Occident, erased them from the canons of sacred architecture as theology has ... evolved? But the curtains are drawn open, for the whole of the mass even on the feriae, and from the vigil of a memory, feast or solemnity until the day's sunset. Heaven is not absent for those who come to celebrate the mysteries, but like all things sacred, we believe it must be veiled when not in use, to create contrast and context of the blessing to see it available in the celebration, but not through Lent and the feriae except for the mass proper.

In the Gothispanic Liturgy and Mozarabic Rite, as it was in the ancient Roman and still is in most Orthodox Churches, the chair of the presiding priest is to be placed against the eastern wall whether it is a rounded apse or a square space. This emphasizes the role of the priest as magistrate in the context of the Roman empire which was the milieu not only of early Christianity, but of Christ himself who was judged by Pontius Pilate, a Roman magistrate. There are many who argue that the altar should be against the wall and the mass be said "ad orientem" which it should, privately, or following the precepts of the Roman Rite after the schism of the early part of the second millennium when its doctrine was imbued with airs of infallibility in terms of cult and culture, but for public worship, as indeed the venerable ancient roman basilicas still stand as monument: face the people, in the name of God, and teach them the way. Theological exegesis that forgets context fails the Logos, well intentioned and devout as it may be. Private masses, votive masses, are well said in private oratories and small chapels ad orientem, but public masses were designed for the salvation of the world, so that those in the westernmost corner could hear the Word and be saved and see the promise of heaven and yearn for a closeness with God. We can't forget that everything was tied together, and all was imbued with reason at the beginning. When we forget why something is, it depreciates in time and becomes banal, vestigial, unimportant, and eventually left in oblivion and forgotten. We can't forget. There is beauty enough in the beginnings, for God was at the beginning of ALL. And what is designed in the perfection of God, needs not evolve. Ius sacra naturalis perfectaque constituta est. And it is to the priests to uphold it and teach it so it may be upheld, and understood, not to reorder and innovate. That's the domain of canon law, politics, worldly preferences and liberties when there are imperfect things to be mended; things to be fixed. The liturgy is mutable, but the magisterium of the Gospels mustn’t. Nor venerable traditions allowed to be corrupted by those outside of its logic.

The washing of the hands of the priest, in Our rite, is performed at the chair in the apse. It is the first act there after the Sacrificium (Offertory) has begun and the priest readies himself to ascend to the altar in front of him. That disposition of having the ara or mensa in front of the celebrant's seat recalls that of the table where the law codes and codicils of the Roman Magistrates sat when they occupied their place at the basilicae to render their duties. It too was covered in linen and had antependiae - it was not a long stretch to becoming the table of the Last Supper, but also where we place the Gospels on the feasts and solemnities, and also the other liturgical books aside from the chalice and paten. Early representations of the judgement in front of Pontius Pilate can help us see the link between the origin and the appropriation of the forms into the context of our liturgical patrimony. Speaking ex cathedra and indeed from the area of the altar in general, in the age before microphones, meant that the celebrant's voice would resonate and be heard even by those farthest west in that symbolic spatial axis described above: the ones that require listening the most, perhaps, were surely in mind. When we turn our backs to them, yes, we are teaching by example, it is true... but that is understood in the context of monks or devout members of a private chapel or oratory - what of the rest? Remember the rest. They need it most. Speak to them, and make sure that in that easternmost spot you occupy, they see God, they hear God, they can be attracted to Him. Never forget to use the two fingers for benediction, and the singular index to teach the way, to point to the right way. That is your job, and that of the Church. But of gestures, another day! Perhaps. Now, let us wash hands and proceed to the dinner in the room outside, shall we?

The dragon slaying days are never over

noreply@blogger.com (KLAVE CENTESCA) — Mon, 05 Jun 2017 22:05:00 +0000

It began a couple of months ago with The Word... well, at least it was then that we heard word of the need of a new chasuble for the upcoming ordination of the Rev Michael Sahdev as priest. There were a couple of discussions, emails back and forth, and then we readied our vision for his approval.

From there, we discussed the the measurements and convened on a choice of fabric.

The design was nearly ready, except perhaps, refining the details of the chalice motif for the centre of the chasuble. The chalice and paten/host are the symbol of the Eucharistic ministry of a new priest and the service he performs in command and commemoration of Our Lord in that rite we know as The Mass. Michael had seen patches with embroidered chalices before... but we imagined something unlike what is done elsewhere these days. The image was in the mind... then out into a quick sketch, and a request for a little faith, as always, for the cartoon of the design can't compare to what we know it can become.

So off to the works: engineering three-dimensional forms in a computer so they become fabric and thread - easier said than done.

The head is too small to get a good likeness.... so what if we take a bead of ivory and carve it? Done.
Saint Michael's head of nobler material could not be. And the priest-to-be worried, "what if it falls off?" But nothing many rows of thread - and yes, a bit of jeweler's glue too - could not secure. It shall be attached still a hundred and two, and three hundred years from now, when we are all gone and it is used by another priest, or enshrined in a cathedral museum somewhere. These vestments are to serve not just at the altar, but as testament of our sacred arts, our devotion and represent the customs and the culture of our times. Should someone forget how and in what regard religion was held in our days, they should see this and trust in our resolve, our witness of the faith was deliberate, and steady, and respectful. This is our witness.

So along came the halo and the wings, and the dragon at his feet (with a little forked tongue hanging to the side, for the devil is slain, defeated, pierced by the archangel's spear and no longer cause for fear as the story goes).

And there were pearls, as the clouds upon which the fight of good and evil once ensued. And then a shrine to protect its memory and encapsulate it, for this chapter described in the tiny scene, dynamic and symbolic, is but part of a larger mystery: that of the chalice and host which represent the blood and body of Christ.

The little shrine takes the place of the knob which is ubiquitous in the chalices used in the Christian liturgies. In the medieval and Renaissance periods there are instances of this, so Gothic gables and forms were used to harmonize the whole.

Issuing from the chalice and host are rays of light of gold, for they represent the covenant of our salvation by following the precepts of Christ: foremost of which is to drink the wine and eat the bread in memory of Him.

Here we see Father Michael during the celebration of his first mass and perhaps the symbolism is clearer than ever. While he consecrates the bread and wine at the altar, the design on his chasuble is a visible symbol of the salvific mystery being carried out in the said consecration.

As chalices go, it is apt that he was given a token one by the Bishop during the ordination, and a real one by the members of the Vestry of the church where he was baptised, confirmed, and worshiped until this Saturday when he was ordained at the Cathedral and returned to the church for his first mass.

We hope he wears this chasuble on every anniversary of his ordination and be reminded not just then, but every time he has to vest it, of the weighty office and tasks, but also the great honour of serving as the agent of salvation for the faithful and even those who perhaps do not yet belief - but attracted by the shine of the chalice, the beauty of our religion which is designed to echo the Holy! Holy!Holy! chanted in heaven, be instructed into its deeper meaning, and the reason of its being.

May your patron in the little shrine, Saint Michael the Archangel, guard and protect you, Father, and may he help you defeat the evils of the world so that the mystery of salvation contained in the chalice be accessible to all. Thank you for allowing Klave Centesca the opportunity to add to the treasures of Our shared Christian faith for now and posterity, and may the Peace of the Lord remain always with you.

The Legend on the design reads: IHS : MICHAEL + PRIEST + JUN 3 + A.D. 2017 + as testament of the day it was first used. So as we say back home: Ad multos annos!

The Real Saint Ronald

noreply@blogger.com (KLAVE CENTESCA) — Fri, 31 Mar 2017 16:32:00 +0000

Quick sketch of Saint Ronald made for a friend a couple of days ago.

Although it is a fairly common name, there aren't many images of the old Norwegian saint. We could only find one, from Orkney.

To remedy the scarcity, a new representation had to be drawn up, informed by a bit of research and interesting facts into the life and death of the martyred jarl.

The allegorical image then speaks about the saint in question, who in the 12c was a jarl ("earl" in English) for the Orkney Isles. As the story goes, he vowed to God to build a church there in honour of the recently canonized Saint Magnus; it was made of yellow and red limestone, and that has become the attribute held by him. The anachronistic earl's coronet is used to denote his rank in life, in a manner familiar to our contemporary understanding. He wears a red mantle which drapes onto the slab in which he was killed symbolizing his own martyrdom and the fact that the miracles which according to legend led to his canonization, are based on the legend that his blood remained fresh on the said stone many years after his death. The stone was taken to be housed and venerated to the church of his own foundation, the now Cathedral of Saint Magnus in Kirkwall. The slab is dressed itself with a representation of the flag of the Orkneys as becoming of the state honours that would have been rendered to him as the sitting earl upon death. The Saint wears a tunic which represents the (again, anachronistic) flag of Norway simply to recall his lineage and the fact that he was a Norwegian agent in those lands. The Nordic crosses of the two flags are also a link to the Christianity of the Orkneys and its martyred earl - Saint Ronald having made a celebrated trip to the Holy Land in his own lifetime - not so much as a crusader, but as a pilgrim. The leggings recall the silvery crosses of Saint Andrew on a blue field which identify Scotland, nation to which the Orkneys presently belong along with this bit of cultural patrimony. So there it is, a new image of Saint Ronald, aka Rognvald, Earl of Orkney.

Interestingly, he was quite a poet, and some of his writings still survive in the old Norse language, along with history of his life and trip to the Holy Land and back, in the Orkneyinga Saga.

The martyred saint is remembered on the 20th of August.

Sarum Blue is at once most blue and also....violet

noreply@blogger.com (KLAVE CENTESCA) — Fri, 07 Oct 2016 22:45:00 +0000

Sarum Blue has been a controversial subject. We have been commissioned a couple of times to make something in that Liturgical Colour... and as always, we at Klave Centesca try to do a certain degree of research before embarking on any project. It is always good to learn new things!

Turns out we see this meme all the time out there:

And yes, it has been posted in reference to our blue vestments:

So let's go down the rabbit hole:

Yes, these are three chasubles depicted in manuscripts ranging between the 10th and 15c., and yes they are quite blue. Are they Sarum? No, but the important thing is that they ARE blue.. ultramarine blue in the first two images, to be exact, which is the pigment often used in those days to achieve this colour from the painstaking process of grinding the mineral lapis lazuli.

The other choice of blue pigment was made out of cobalt... both rather bright, definitive, shades of blue.

But... it is true... the ordines and rubrics of the Church don't generally consider blue as a liturgical colour... yet it appears not just in chasubles... but also in the form of copes:

And then, also in the form of choir dress: are certain of these cardinals wearing blue cappa magnas?

Are these French Prelates all in blue choir dress too?

Well, it's not some conspiracy. Turns out, the French Prelates are all Bishops - they are actually wearing violet mozettas (aka camails, in French) lined in amaranth red as prescribed for their hierarchy to this day... just that in painting, back before acrylics and oils came in tubes, blue was still made out of ground lapis and smelt and other proprietary recipes...and was used to "depict" the prescribed "violaceus" hues of the church.

Yes, that is how in this beautiful images of a papal chapels, processions and consistories, there are red Cardinals and a few "blue" prelates too:

And just as art imitates life... eventually, life imitates art. This is an extant Halberstadt blue chasuble from the 13c. Keeping in mind that textile colours do fade with time.

But if textiles fade, certainly the stained glass windows and illuminated manuscripts that are part of our collective patrimony, culture and memory, do not. So to those who question the existence of Sarum blue... and then it's bright incarnations as royal, azure, lapis and cobalt... well... look at the rubrics and when is it used: Advent... when violet is called for... and look at the evidence above where these bright blues are used to depict whatever the church prescribes as violet in art: from the choir dress of bishops, to the court dress of domestic prelates of the pope, and vestments in places outside the use of Sarum where "blue" is not an option but violet always is. Sarum blue is not an anomaly. And these bright hues, end up closely resembling the historical ultramarine obtained from the lapis.

Hence. voila!

Sarum blue is at once most blue, and also... violet. Technically.

Here are links to two of our featured blue sets, if you'd like to revisit them:

Sarum Blue Vestments for Chapel of Saint Andrew

Red Becket Style Chasuble lined in Royal Blue

Sarum Blue Vestments Inspired by The Stained-Glass Windows behind the Altar

noreply@blogger.com (KLAVE CENTESCA) — Fri, 23 Sep 2016 13:02:00 +0000

We've just finished and delivered this Chasuble, Maniple and Stoles in Sarum Blue in readiness for Advent at the Chapel of Saint Andrew.

As with all projects, it began with a sketch after discussing fabrics and trims in the range of colours appropriate for the season. The measurements we already had from a previous project:

One must only look at the beautiful stained glass windows, where the vestments will be worn, to realize that it is a perfect choice for its setting. To harmonize with the velvet altar frontal that the church already owned, a matching blue hanging has been projected:

Also, keeping in mind the other traditional colour of the season, as well as the pre-existing altar hangings, the lati-clavi running up and down the front and back of the chasuble are in imperial-purple velvet. To frame these velvet orphreys, we've used an antique-gold galloon.

Beneath the chasuble you can see the Priestly Stole and Maniple, which have the further addition of a lush gold fringe.

To match, a Deaconal Stole was also made:

This stole has our now signature angled shape with appliqued roundels through which slides a cord with tassel that keeps the front and back together. The cord easily slides to accommodate the deacon's needs.

These vestments were made thanks to the generous donation of a parishioner and close collaboration between Father Charles, and us, here at Klave Centesca! May they serve the altar of God and the community ministered there for many years!

Of Mitres and Crowns...Many Crowns... if you like crowns... :)

noreply@blogger.com (KLAVE CENTESCA) — Fri, 09 Sep 2016 21:24:00 +0000

A cameleucum was originally a cap made of camel-leather, hence its name. It was the headgear worn by the Byzantine Emperors that to this day, in various other forms, is still current. Here's the extant crown from Palermo, which is very much of the original type:

The Goths too used this jeweled cameleucum for its thiudans from the sixth century both in Italy, and then Spain from the reign of Leovigild.

The Tsars of Bulgaria, as those in Constantinople, continued to use this modality right until just before the Renaissance.

The camaleucum, as a crown in its glorious bejeweled version, was used by the Caesars-Kaisars-Czars-Tsars-Thiudans-Basileus but without jewels, was granted to be used by other members of the court, and for ordinary days. Below you can see a lay man and a cleric (notice tonsure) from spanish manuscripts, and in the next image, two princes (seated) with these simpler caps, as the group of noble courtiers next to them.

The northern peoples who took over Europe with the fall of Rome, incorporated the camaleucum into their court-dress too, but for the most part, it became lined with ermine with a velvet exterior. Similarly, the robes of state became transformed from unlined silk (as worn in the warm climes of the southern extension of the Roman Empire) into velvet lined in ermine of the "dark ages" until today.

In Russia, instead of ermine, these caps were furred with mink until the times of Peter the Great when in imitation of western Europe, the white fur became the universal symbol of royalty:

In the realms, ruled by Normans, Goths, Germans, Burgundians and all the other northern royal tribes that descended on Europe, the camaleucum eventually took the form described above - as a velvet and ermine "cap of state". This is what the Kings of England still wear on their way to their coronation:

Also it was what the Electors of the Holy Roman Empire (Kurfursts) wore as part of their official costume. In essence, it symbolises that you are a member of the "peers of the realm" or the equivalent dignity depending on country and language.

It was also used in conjunction with the archducal crowns:

Indeed, the coronets of the peers, in England, as the royal crown itself, all also contain such a cap of state (within the coronet):

coronet of a duke

coronet of an earl

coronet of a baron

Or without a coronet in the case of Scottish Baron's heraldic Chapeau or "Cap of Maintenance":

Every year at the State Opening of Parliament, in front of the Queen, such a cap is still borne on a pole by an officer who walks in front of Her Majesty to the right of the Sword of State.

In Rome, the velvet cap furred with ermine was called a camauro (word also derived from "camel") as in the eastern church it is called a skuffia, whether it is furred or not.

Popes wore these indoors to prevent the chill in winter, and occasionally, an unlined version out of satin in the summer months.

It was the head-gear, along with the appropriate matching mozzetta of state, worn to receive individuals and corporations in audience. They wore the camauro for these indoor, fairly private occasions, instead of the heavier and more ceremonious set: the tiara and heavy mantum used for canonizations, coronations and such.

It must be noted that the cameleucum-camauro is NOT related the pileus-zuchetto-skullcap also worn by the clergy, which has a different history, provenance, purpose and use. In the pope's case, that skull-cap is white, and would be worn beneath the camauro or tiara.

Originally, the papal tiara was just one crown with a cap-of state inside. The fact that it accrued two more open crowns on what became a towering stiff cap doesn't mean the cap isn't a cap-of-state. However ovoid the original cameleucum became after its hemispherical and pointed iterations, because it had that first crown, it meant that it was an insignia of earthly dominion. Only with the addition of the second crown (by the 13c) to further indicate the pope's spiritual power over the church after the schism between East and West, and the third crown (by the 14c) as the power of the papacy increased to the point of asserting primacy and jurisdiction over all princes of Christendom during the Avignon period, did it become the familiar shape we now know as the "triregno". With time, these three crown became associated with all sorts of other symbolic meanings: as history is often left in the dust by the hooves and chariots of the triumphant chronicles of officialdom.

As presented above, though, the triregno descends from the cameleucum worn in the court of Constantinople that later spread across Europe and developed into a) the velvet caps-of-state, b) remained unchanged as in Bulgaria, and c) became the two particular head-dresses of the popes of Rome known as camauro and tiara. In the eastern rites, the stiff court-cap became the episcopal mitre of the Greek bishops which in origin was not as bulbous as it has become with time.

Though the headgear of the Greek and Russian episopate is called a "mitre" this can be confusing, because they, like the papal tiara, descend from the camaleucum, and not the hood, like the "western mitres" do (more on this genesis on yet another post...it's a long topic.)

The orthodox bishops began wearing these caps, as part of their court costume, as a concession from the Roman Emperor (of the east) just as the Pope, ad personam, is supposed to have received similar concession from the Augustus who sent his Caesar to greet him with full honours at the seventh milestone outside of the gates of Constantinople... This is the scene depicted in the fresco just below:

No other western bishop is on record as having received this court-cap from a Roman Emperor, and hence why for Roman Catholics, it is the exclusive headgear of the Roman Pontiff.

It must be stressed that this was an element of court dress and not a vestment used within the mass. This is analogous to the use of mitres in the west, which are used for liturgical functions, but not within the context of the mass itself - just in the rites preceding it such as the Liturgy of the Word, Blessing of Candles or Palms, and the rites and processions after the Eucharist. In the Latin Church it wasn't until the second millennium that the pope began using, and granting the right to use, a mitre to certain abbots, cathedral canons, and members of his household who were not bishops. All this, a few hundred years after it was well established that mitres were exclusively worn by bishops - at least since the 7th century, in Spain. There, it was already called a "mitra" or "citharim" (see our post here where Saint Isidore of Seville already attests to it).

So... whenever you read the papal tiara descends form the phrygian cap... which has a different meaning, and nature... mitre or the pileus, which themselves are completely distinct from the phrygian cap and cameleucum also in nature and use... now, you know better.

Saint John XXIII, at right, knew :)

Now... whoever invented Santa Claus... pretty sure they had no clue! As it happens.

More on the mitre, birreta, kamilauvkion and skuffia, etc. on future posts... suscribe! And like our page on Facebook! We make some pretty neat embroideries too, so browse the galleries. Thanks! :)

Of Mitres and... Women! Part I

noreply@blogger.com (KLAVE CENTESCA) — Tue, 06 Sep 2016 16:33:00 +0000

There has been a resurgence of talk about female ordinations and deaconesses lately... soon enough, an article about that... but first, let's continue our exploration of the mitra and it's intimate connection with women in the early church.

In the ordination of an Abbess, in the Liber Ordinum (the autochthonous Sacramentary used by Bishops in the Iberian Peninsula from at least A.D. 589) it says she should present herself wearing a mitra!

This pretty mitre, mind you, was worn only by men...

Context is everything - not to speak of semantics: albeit having the same name, the mitra worn by religious women is a very different thing from the mitra used by bishops.

We've quoted Saint Isidore of Seville's Etymologies in the first article on mitres, here, which mentions "the cidarim, also known as mitra by many" which was used by bishops in what is today Spain, already in the seventh century (when the text was written).

In the same book, just a paragraph below, when listing the different hair ornaments that women wear on their heads, encyclopedic Isidore mentions a particular one also called mitra. By its description (" a soft cap with a hole to let the face show through") and the fact it is named in the rubrics within the Liber Ordinum, for the Ordination of an Abbess, where the lady is instructed to come before the bishop wearing her "mitra" in order to receive the veil, we can better understand what this mitra is. As a later image of the same ceremony shows,

the garment in question is of the type we see more clearly below:

On this personable nun, the white mitra religiosa is worn under her black veil.

In other sources, languages, and confessions, it is called a wimple, apostolnik, a hijab, or whatever else. Up to Vatican II, most nuns used it in the Latin Rite. It was indeed a common sight in both the eastern and western traditions:

In the orthodox rites, this mitra religiosa is called an Apostolnik or Epimandylion. Sometimes it is white, as in the case of the one worn by Saint Elizabeth (the martyred Grand Duchess), but most often, black. It can be worn by itself, covered by veil as in the western rites, or below a soft cap for warmth.

There you have it - the mitrae women wore... and in some instances, still wear.

To continue, on another post, we'll present the specific type of veil used by a deaconess who would minister to the royal ladies in church before the Gothispanic rite was supplanted by the Roman in eleventh century Iberia... so, stay tuned!

THE CHURCH DIVIDED... by rails and screens...und a little merkel Part I

noreply@blogger.com (KLAVE CENTESCA) — Tue, 23 Aug 2016 13:41:00 +0000

Something people are generally not mindful of, these days, is the spacial divisions of churches in yesteryear.

Western Churches, especially after the reforms that began in the 1960s have become big open halls, sadly devoid of certain architectural elements which for some reason began to be thought of as divisive.

Of course they were divisive! That was what they were intended to do! Provide a visual and physical barrier between the diverse spaces of the church: to separate the area of the faithful (the nave) from the choir which was reserved for members of the clergy; and that one, from the presbytery where the altar stands.

From east to west, let us begin with the screen most people will recognized for its iconic presence (pardon the pun).

To divide the sanctuary from the choir, in most Orthodox churches, there is an Iconostasis. This is a screen decorated with painted icons of Jesus, his mother The Theotokos, of the Archangels and a plethora of Saints of particular devotion locally - hence its name. Generally, it completely shields the altar from view - except at certain points during services in which the Holy doors that pierce it, and curtains that veil it, are opened.

In the Latin West, no screens requiring doors, but the open arches that separated the sanctuary from choir, would also often have curtains to be drawn open or left closed - functioning very much as the Iconostasis in the East - to shield the altar from view at certain points during the mass which when left open provided for a greater grace, in contrast. (More on these curtains in a future post.)

Certainly, some old churches in Greece, as well as those of the Armenian Rite, maintain curtains in front of their sanctuaries to this day - whether there is an arch or not:

In the Gothispanic and later Mozarabic Rites of Spain, this curtained arch was particularly prominent in the liturgy as well. Traces of its rails can still be seen in its extant churches dotted around the Iberian peninsula previous to the official shift to the Roman Rite that started in A.D. 1050; also, in the many book illuminations of their patrimony known as Beatos.

Indeed, this practice and tradition stems back from the biblical description of the Jewish temple, where a large curtain hung in front of the Holy of Holies:

In Rome, from the time of Constantine, instead of having a linear arcade, it was common to pivot the external two arches and close off the open side with a fourth arch creating the tetrapylon, ciborium or baldachin that surround and cap many of the altars of the old basilicas.

These too would have been provided with curtains which at least in the early times, served for veiling the altar from view. This, in parallel to the other catholic rites when all were still in communion with each other.

After these curtains began to go into disuse in most of the west, the chancels retained the function of separating the altar from the choir.

Indeed, these altar rails became the place where communion was distributed, especially to the clerics placed in the choir, hence, they were often called communion rails.

They were called chancels, from the Latin term cancelas, which means a barrier, fence or frontier. For this reason, the area of the choir (and sometimes also the sanctuary) became known as the chancel in English - for it was enclosed by these low-walled divisors.

Interestingly enough, this was not just the case for religious temples. Just as the Christian church found architectural inspiration from the civic basilicas that served as courts of law in Ancient Rome, the royal halls of the various European monarchies were also provided with chancels in early times.

As an example, here is the Riksalen in Sweden, which to this day maintains the obvious divisors.

The imperial diets of the Holy Roman Empire and even the British Parliaments also maintained a disposition of seating particular to this ancient practice of dividing a basilica into different sections - even in absence of the actual barriers:

For those places where the chancels went the way of the rails (is that the saying?) The Great Officer of State who presided within its confines, in absence and name of the monarch, is aptly named the Chancellor - or Great Chancellor, Arch-Chancellor, Lord Chancellor - depending on country and time. He was the person charged with the Seal of State and thus the expedition of all the great documents of a nation in the form of Letters Patents. He is the head of the clerks, or secretaries and other learned men who in medieval times, were almost always clerics - hence their name. These clerks had their place within "the chancellery" at the royal court, like the clerics would have their place within "the chancel" of a church.

A British Chancellor, here presiding in front of the rails that still separate the throne dais from the carpeted area equitable to the chancel in a church; this is the case during a parliamentary session of the House of Lords in absence of Her Majesty.

Chancellors of The United Kingdom kept the Great Seal of State in these embroidered purses... historically.

Chacellors of France kept the Seal of State inside the box pictured here under the left hand of the Chancelier.

But enough word association and derivatives for one day. OK, one more: we end with Merkel. :)

Which is neither here, nor there besides the obvious... but then, it is said that "merkel" is derived from the German word for frontier: mark - as in markgraf (frontier earl), Denmark (frontier of the Danes), Altmark (old frontier), etc. - which was too fortuitous not to share.

Next time, we will showcase the second divider in our journey west - the sometimes called roodscreen, which separates the choir from the nave of certain old churches of our common Catholic past.

But now... a wee refresher for those who desperately need a laugh:

Lion of Saint Mark Church Banner and Stand

noreply@blogger.com (KLAVE CENTESCA) — Wed, 10 Aug 2016 21:30:00 +0000

Today is World Lion Day, apparently. In heraldry, lions are featured prominently, and hence why we've become familiar with them over time.

In one instance - more vexilological than armorial perhaps - we've outdone ourselves with the particular item featured today. This, is the Banner we made with the lion of Saint Mark embroidered in 3D using a technique called stumpwork.

It is a bit like additive sculpting - if it were clay - but mind you, the whole thing is made of fabric and thread and just the right bits of padding to achieve the three-dimensional features of the big cat.

Once we had the banner - a stand like this wouldn't do, would it? The kind used in police stations, schools and the Department of Motor Vehicles?!

So... accordingly, the pole is covered in velvet, and so is the custom-made stand. We used the method employed for covering the chairs-of-state since elizabethan times in England. Would also look nice as a stand for a Paschal Candle or the 6 Candles around a catafalque, yes?

But back to our banner: because it is the banner of a church proper, it got topped with a cross to match the stand.

But how does one even begin the process to get a glorious custom-made banner? Contact us, tell us what you have in mind, we sketch a few proposals and you choose whar you like or do not like and in the end, the results speak for themselves, we hope.

Here are some of the initial proposals based on the discussions with Father Bob and Mother Liza about the design.

We knew the colours would be red and blue; just not sure in what order. Also, if to go with a colorful lion or something more fierce. Mind you, it was option C that was chosen for the colour scheme. The colorful feline inspired by the book of Kells did not win favor in the end.

This one, from a mosaic at Trinity Cathedral became the model to follow.

A cartoon was drawn to suit our purposes, and the embroidery was made. The end result always looks better than the cartoons... it takes a little imagination and a whole lotta faith, But it's always worth it.

And thus, we end as we started, with the face of the lion in the banner of Saint Mark's. All for about the price of one of the ready made banners one gets from your average catalog!

#worldlionday

To see the stand in blue velvet and the Banner made for the DOK, go here.

OF MITRES AND MEN III

noreply@blogger.com (KLAVE CENTESCA) — Wed, 03 Aug 2016 19:12:00 +0000

Today we shall take a look at the middling mitres: the auriphrygiate types. These are differenced from the precious mitres, essentially, in the lack of jewels - which renders them lighter in weight and thus more comfortable to wear for extended periods of time.

They are also sometimes called golden mitres, because in their simplest of forms, they are merely made of golden cloth without further ornamentation... well, maybe the arms of the owner embroidered on the infulae such as those pictured by JP Sonnen over at Orbis Catholicus that once belonged to Cardinal Siri (something we at Klave Centesca love being able to do for Bishops, Archbishops, Cardinals and Pope with quality like that of yesteryear! But made in the USA, today.)

The name of Auriphrygiata, though, comes from the fact that Phrygia was famous for its golden embroideries back in Roman times. These would have been of scrolling foliages or figural, and were highly priced - adorning the purple toga of the triumphant generals and later the robes of the imperial family. In time, the church was endowed with donations bearing these gold needleworks in the style of Phrygia, and eventually, herself began commissioning paraments and vestments with such ornamentation.

One of the earliest extant auriphrygiate mitres are those which depict the martyrdom of Saint Lawrence and Saint Thomas Becket:

These would have been used on the patronal feasts of the saints depicted, since for such occasions it was usual to have processions and long liturgies in which lighter mitres could be employed.

Toledo, according to its own traditions, still uses one for Requiems and other occasions (for which the Roman Rite only allows the Mitra Simplex in white) which depicts the crucifixion:

Mitres with whole scenes embroidered on them were once fairly common. France certainly has some of the most beautiful examples. This one, in the Musee de Cluny today, has scenes of the Nativity and is one of our favorite:

Others, rather than having whole scenes, show just the iconic representation of a Saint, Martyr, Virgin or Jesus himself - usually with their respective attributes. Here are some worthy of note:

Then, there are those that depict a cross, a dove or other symbols.

Lastly, as with the case of the precious mitres, we end up with the veritable gardens that became popular from the 1700s to the 1900s. This example, in polychrome flowers from Germany is quite striking:

Something else to note is that these "garden" mitres generally use a multitude of colors in their embroideries, while only gold is used in the Mitra Pretiosa for flowers and foliage - which need to better showcase the colored jewels sewn onto the fabric.

We hope you have enjoyed the small selection of embroidered mitres. We are currently working on a couple of mitres inspired by some of these seen here which will be put up for auction. Also, if you want something spectacular, you know how to reach us. From a simple coat of arms on the infulae to something more elaborate - we do love a challenge here at Klave Centesca!

As a sample, here's the mitre inspired by the beautiful rose window tracery at the Basilica of Our Lady in Guelph, Canada, that we embroidered with the arms of Bishop Ustrzycky as a gift from one of his parishioners, our friend Massimo Marcone:

And a monochromatic auriphrygiate version in the works, to be auctioned off once we finish putting it together:

Blessings to all!

New Papal Tiara for the reigning Pontiff, Pope Francis

noreply@blogger.com (KLAVE CENTESCA) — Sat, 11 Jun 2016 19:18:00 +0000

These are some images of the papal tiara gifted this past month to Pope Francis, by the President of the Macedonian Parliament.

The New Papal Tiara presented to Pope Francis in The Vatican by the President of the Macedonian Parliament.

Trajko Veljanoski presenting the new papal tiara to Pope Francis

Historically, most popes, except the two John Pauls, have been gifted one such headdress. It was used on the most solemn of occasions instead of the mitre worn by the rest of the western bishops.

It is to the east where we must look to understand the ovoid triple crown that came to be known as a papal tiara.

It developed form the camelaucum which was worn by the Roman Emperors after the move to Constantinople. Eventually, it became the privilege of the bishops to wear these court-caps and with time, in the east, they became the more or less bulbous mitres worn to this day by those of the episcopal rank.

In the west, it took two routes. The first is the "camauro" or soft velvet cap that was worn by the pope instead of the heavier hat with three crowns.

Saint John XXIII wearing red velvet camauro and Easter-tideWhite Mozetta when Pope

The Triregno is the second version, though in the beginning it had just one crown. That first crown was because the pope of Rome, unlike the other christian bishops, is a theocratic monarch - meaning, he rules over a piece of sovereign territory besides being a bishop. Once, he held sovereign power over the so called "Papal States" - reduced since the last century to just The Vatican City-State.

The other two crowns were accrued because the Roman Pontiff, as successor of Saint Peter, and Vicar of Christ, is supposed to outrank all other princes of the earth. He is not the only monarch to have assumed double or triple crowns though... just the only one that outlived the others (more about this at another date).

The three crowns were supposed to signify his holiness on earth, purgatory, and heaven. Crowns, since ancient times, are symbolic of the rewards offered at a triumph. Virgins, martyrs, and saints in general, used to be depicted either with a crown on their head or held in their hands as reward for their holy earthly lives.

But back to the Eastern roots of the papal triregno, we may see how it is worn by the Pope when celebrating with his eastern brothers in Christ.

So - is it so damning for a Pope to wear a tiara these days? Some are rather focused on the political implications and the "message" as if the pope were just one more politician - forgetting, perhaps, the historical link that one piece of stiffened hat has with the other half of the church we, in the west, so readily dismiss in our own zeal.

The pope is not supposed to be the Vicar of Christ for the west - but for the world (according to the doctrines which were adopted in the beginning of the second millennium and alienated the Eastern half of the church). Accordingly, he'd do well in retaining those ancient traditions which maintain the link with the rest. The papal tiara, is one such link - albeit the second and third crowns on it may constitute a break with the first one thousand years of tradition and history of the Church, and may be worth revising in an act of charity and humility as the last popes have attempted in refusing to wear the headdress, yet breaking with the tradition of wearing it being a disservice to History... Chanting the Gospels in Latin and Greek during the papal liturgies, is another one of such traditions, as Latin is only the first vernacular that the bible was translated into after the original Greek and Aramaic. In the Papal liturgies, it was traditional to maintain that memory before such lasting links to the past have too been left to be forgotten.

The tiara gifted to Pope Francis is not made of precious stones and gold as for his predecessors, but like the mitres of the eastern-rite bishops: of stiffened cloth, embroideries and pearls. The arms of the Pope embroidered or painted on the lapets, in strange contrast and weird compromise, instead of a tiara has a western mitre - yet with three bands symbolic of the three crowns. It dissatisfies tradition of the church before the schism, the schismatic orthodox, and also the advocates of the Roman Rite who defend the doctrine of papal supremacy, etc. The mitre with the triple bands has precedent in a grant to the once Patriarch of Lisbon... but misses the point of the hermeneutics of tradition in its attempt to appease and please... who?

Of Mitres and Men II

noreply@blogger.com (KLAVE CENTESCA) — Fri, 20 May 2016 16:10:00 +0000

Previously, we spoke about the antiquity of the mitre. Back when it was plain even on the most solemn of celebrations (here). Now, let's explore some of the trends in adornment it picked up through the centuries.

ORNAMENTATION: I
THE MITRA PRETIOSA

The ornamentation of the mitre can take many forms. The first known was the addition of the titulus (vertical band) and the circulus - the horizontal one that runs along the bottom edge. Of this type, are the oldest extant mitres scattered throughout certain lucky cathedral museums in Europe - often rescued from old tombs and restored for exhibition by textile curators.

This modality has remained popular from the beginning of the last millennium until the present day.

Pope Francis makes almost exclusive use of these even on the most solemn of feasts - Easter and Christmas - which is quite correct even if admittedly, we'd love to see more of the wearable works of art in the Papal Sacristy in good use...

The perpendicular bands signify this is a "mitra pretiosa" even if no other embellishment is present. If you are a bishop, it is likely your work-horse mitre. It works on all occasions when the simplex is not called for, since it may even be used during Lent and Advent which otherwise calls for the mitra auriphrygiata in the Official Rubrics.

One step above in embelishment is encountered in the 12, 13 and 1400s. It is the same mitra pretiosa but this time with at least two rondels or "jewels" on the white spaces. At this period, we also begin seeing mitres of colours besides white - which Leovigildus would probably disapprove of - as does the Roman Caeremoniale Episcoporum, most emphatically by the 1700s.

Eventually these jewels proliferated - but the titulus & circulus remained:

And then, we have the last set of mitrae pretiosae... where they no longer have the distinguishing titulus & circulus, but instead, showcase a veritable garden of jewels strewn throughout. They were specially common from the 1700s on, like the fiddleback chasubles, which makes them the most Roman in taste. Indeed, right before Vatican II, every western bishop of the Roman Rite (aka Tridentine Rite, and now Extraordinary Form) would have had at least one for the most solemn of occasions.

Depending on the style of vestments you wear, the architecture of the basilica or cathedral... some are more appropriate than others, though technically, they are all the same: mitrae pretiosae.

Stay tuned for:

THE MITRA AURIPHRYGIATA

OF MITRES AND WOMEN

... next week!

Of Mitres and Men: I

noreply@blogger.com (KLAVE CENTESCA) — Fri, 20 May 2016 15:26:00 +0000

The title of the post will become clear at a later date, but for now, let's focus on that headdress par excellence of the episcopal order in the Western Church: the mitre.

Supposedly, it didn't come about until the tenth or eleventh century... or so, scholars and most liturgists capriciously repeat... quoting each other... over and over... as they are wont to do.

Already in the seventh century, Saint Isidore (yes, the Patron Saint of the Internet) had described them within his encyclopedic works. And no, this isn't another case of << "The problem with internet quotes is that they can't be checked" - Abraham Lincoln >> You can go to Spain and see it written in parchment and smelling of that moldy musk that only centuries-old manuscripts can afford... yet to prevent possible bubonic plague, or incarceration for doing the good old "scratch and sniff" on a priceless manuscript... here's a web-link to the first transcribed text by persons who have already gone through the motions:

The translation being along the lines of: << 6: To the priestly state also belonged the cidaris, which is called a mitre by many. >>

Cidaris [from the Greek Kidaris] was an ancient ceremonial headdress worn in Persia. Here, it is the name used for the hat worn by bishops. It should be noted that sacerdotes, which correctly translated means priests, was used in Spain to mean bishops - for these were considered "priests of the first order" (as in: they embodied the fullness of the priesthood) - whereas the "priests of the second order" were properly termed presbyters. Such it is in the Liber Ordinum, Missals, and other extant texts.

By the ninth century, we hear another well documented mention of the mitre-cidaris. This time the writer is Leovigild, a presbyter from Cordoba, who wrote a treatise on the vestments of the Catholic clergy in Spain titled "De Habitu Clericorum" - which you can reach here by downloading the pdf from the Cervantes site.

The bit that interests us at the moment, though, is this:

Which translated means: << In the episcopal ordination, the bishops use a cidaris ... and in the solemn festivities, it is placed on their head... >>

Leovigild also says that the pure-white cidaris-mitre symbolizes the white-hair of old age (canitie), and hence, why the headdress is placed on the newly-elected pontiffs [presumably as a symbol of the wisdom accumulated by those who come to have a white head...] with these words:

Inde qum in clero talis fuerit qualis apostolus designabit inuentus cidarim mundam fibrisque perfusa super caput eius inponitur ut honorem senectutis plene inter collegas uteri uideatur et uenerationem canitie ut dictum est ab hominibus tribuatur senectus inquid Sarae prolis uenerabilis est non diuturna neque annorum numero conputata cani sunt autem sensus hominis et etas senectutis uita inmaculata. Ob hanc rem canitie similis episcopi ponitur capite et a candore eius equm est uertix ipsius ornare.

And with that, we come to the first mitres... already in use some three centuries before they show up in Rome.

These were white, with red fringe hanging from the lappets, as are still used to this day. The difference is, of course, that though originally these simple mitres were used for the most solemn and festive of occasions, through the centuries, they have been relegated to be used at funerals, and by those persons privileged by the Pope to wear a mitre albeit not being ordained-bishops.

It is also worn by bishops in choir, and when acting as as concelebrants - while the principal bishop or archbishop makes use of a more ornate version which we will discuss in another post.

Cardinals, instead of the plain white-linen mitre, are themselves privileged to one made of white damask.

But what did the Popes wear before adopting the mitre?

In Rome, the popes used a camelaucium. This has more in common with the eastern-rite mitres (before they themselves took on the bulbous form common today). Originally, it was a hard cap inherited from the use of the Imperial court in Byzantium. Pre-schism, of course...

With time, it developed into the two most recognizable, and exclusive, headdresses of the papacy: the tiara, and the camauro of red velvet lined in ermine. The first, used for the liturgy, and the latter for less ceremonious occasions. The present pope prefers not to use these, so here's Saint John XXIII to illustrate 'The History of Rome':

In sum, the mitre indeed became widespread by the turn of the millennium after Rome adopted it... But they were already used 300 years earlier... by bishops in Spain - at the very least.

Pentecost Green! No, Red. No, Green! :)

noreply@blogger.com (KLAVE CENTESCA) — Thu, 12 May 2016 08:34:00 +0000

Ever since Easter began, we've been busy making vestments in red. That is the colour for Pentecost in the Roman Rite which practically everyone follows today in the West.

The reasoning for the red is well documented in every liturgical book printed since at least the 1500s ... and even Wikipedia. The green, however, is less obvious when one directly associates the holy ghost with red masses.

Green's use is explained with the descent of the Holy Spirit beginning the period in which bishops went out and evangelized the peoples... in other words, the beginning of Ordinary Time in the Liturgical Year. Hence follows, that the colour of bishops is green and why the galero on their coats of arms, seat covers and cushions are also by default green. [Eventually, western-rite bishops began to wear purple (and the rochet, for example) as part of the now well-established privilege of being members of the Roman Pontiff's household. Monsignori, who may or may not be bishops, thus, also wear purple by the privilege which affiliates them to the Papal household.] Green represented the time when to carry out the pastoral visits by the bishops - when the fields themselves were green with life. Green "cassocks" and "hoods" went out of history long ago for bishops, but the vestments and some paraphernalia remained.

Now that some context has been established, here is a rather magnificent set of paraments, presently at The Louvre, which were commissioned for L'Ordre du Saint Esprit in the 16th century - whose major feast day was: Pentecost! As you may appreciate, it is green, and replete with the flames associated with the descent of the holy ghost.

On this image one can see the Throne dais whose baldachin has the dove in the centre and the prie-dieu cover bears the royal arms embroidered in the front. On the rear, the altar frontal, dossal and baldachin can also be seen. The ceremonial robes of the Knights and Officers of the order also bear a small cape to match, in green, above the long black mantle.
Next, is an image of these pieces in use, during the King's reception of the oath from a new member: The bird which is in reality embroidered on the ceiling of the king's baldachin, is represented as hovering over the sovereign's head in the painting:

L'Ordre du Saint Esprit was established in 1578 by King Henry III in commemoration of having been elected King of Poland, and then inheriting the throne of France, coinciding with the feasts of Pentecost of 1573 and 1574 respectively.

Here can be appreciated the detail of the flames of the green camail (above) and of the overall effect of altar frontal (below) which also bears the King's heraldic achievement of a royal crown over the arms of France, and of the Polish-Lithuanian commonwealth. They are circled by the collars of L'Ordre du Saint Michel, and the new Ordre du Saint Esprit.

So there you have it. Green Vestments and Paraments used at the Royal Court of France for the Feast of Pentecost according to the Parisian Use of the Gallican Rite. The Gothispanic (aka Mozarabic) Rite also uses green for this feast in the west.

The Eastern rites too, use green:

Some, still deck the halls with green branches, flowers and trees:

And others go still further and "carpet" their churches with greenery as was attested by the Muslim chronicler, Almakkari, when referring to the Gothispanic mass already in the IX century.

Below, that practice still seen in Romania:

Interesting, yes?

Becket Chasuble In Red, Lined in Royal Blue

noreply@blogger.com (KLAVE CENTESCA) — Sat, 30 Apr 2016 23:20:00 +0000

Recently, we were commissioned to make this Becket-style Low mass set.

Becket-style vestments usually take their inspiration from one of the extant chasubles that belonged to the 12c English Martyr himself. The most famous one is that held in the Treasury at Sens Cathedral because of the particular pattern in which the orphrey is laid on the chasuble's front and back. This, we took as our starting point.

As with every one of our projects, the design ends up being a collaborative process. Father Patrick Allen, for whom the set was made, decided it would be more useful to reduce some of the volume by curtailing the sides up to the wrists. The original was itself a slightly modified conical chasuble which is not recommendable for celebrating a low mass where the priest is who turns the pages of the missal, for example, so as to prevent knocking over the chalice and such. Functionality is paramount when celebrating the mass - especially when not attended by a small legion of altar servers, as in yesteryear, to hold back the sides of your chasuble out of the way and rearrange to reveal your hands whenever the extra fabric slides past them.

With that in mind, a red exterior with a royal blue interior was the colour scheme chosen. The red is particularly inspired by Saint Thomas Becket himself, a martyr who will be celebrated henceforth with these vestments. The red also being appropriate for the upcoming Whitsunday, Masses for the Holy Spirit and every other martyr in the calendar. The royal blue interior offers a nice contrast, and recalls the light which shines through the colored-glass windows.

Though it wasn't designed to be reversible... inside-out it wouldn't be a bad choice for an improvised Sarum-blue Advent Sunday! Or Monday... whatever appropriate.

But enough improvisation. Once again, here it is the chasuble, but this time with an appareled amice we featured here which would finish the look. An appareled alb would also be a definite possibility to round things off.

Lastly, we'd like to leave you with an image of the maniple and stole.

These too were inspired by the original ones at Sens, in the shape and pattern of the embroidery on the extremities. Because this is a low mass set, we kept the embroideries simple with only a few, tiny, metal beads for embellishment. Works nicely though, wouldn't you say?

Would you like different colours or details on yours? Contact us and we'd love to collaborate on it! :)