Abbey-Roads2

Puddles and puddles of water-stained silk. 

In one of his books, interior designer Billy Baldwin recounts an anecdote concerning his mentor, the famous interior designer, Ruby Ross Wood.  While working with a relatively nouveau riche client who insisted on an elaborate puddle for her drapery, Miss Wood, who loved simplicity and restraint as opposed to ostentatious display,  feigning acquiescence to her client’s wishes , responded,  “Well my dear, in that case, why don’t we let them puddle across the floor, through the foyer, and out the door, onto the street, so that your neighbors and passers-by may see how rich your husband is.”  I can’t remember if Miss Wood completed the design project for the client or not.

The story of puddling curtains comes to mind each time I see a photo of a prelate in a “cappa magna”.   Of course it is just my personal opinion, but I think this embellishment to the dress of a Cardinal is somewhat ostentatious. I’ve written about it before and readers have ‘corrected’ me, but I haven’t changed my mind.  (Although it doesn’t matter what I think, does it - I’m just a “hobbyist” when it comes to ecclesial fashion.)

Cappaphobia.

That said, Gerald Warner has an article at Telegraph.com.UK  insisting this subject poses a mental disorder for progressive Catholics, which he calls, “Cappaphobia”.  (He’s being cheeky, right?)  I’m hardly a progressive Catholic, and neither was Pius XII, whom he gently reproaches for modifying the cappa magna; “In 1952 Pius XII, in a misguided fit of radicalism, shortened the cardinalitial cappa from six yards to three.”  Oh!  The humanity!

An orgy of vandalism. 

The gentleman continues with his aesthete lament; “That moment marked the beginning of the Church’s downward trajectory. In 1969 Paul VI, in an orgy of vandalism reminiscent of the burning of patents of nobility in the French National Assembly in 1789, abolished the winter ermine hood on the cappa, along with the cardinals’ galero hat, the red tabarro cape, buckled shoes and just about everything that compensated for the sacrifices Catholicism imposes on the faithful.”  Such drama!

Widen the phylacteries and make those tassels long.

I know!  It is not the same thing.  However, I’m quite certain the origins of the cappa magna had a lot to do with vanity, status and ostentatious display - and yes, of course, it was the prevailing custom, and it made the obvious statement of power and authority.  Personally, I think a 3 foot train is more than adequate, whereas 6 feet of watered silk is a bit grand in any age.  These are essentially court trappings, which may be altered or modified according to custom; to like them or dislike them has less to do with one’s orthodoxy, but rather taste. 

So, as far as Ruby is concerned, let the cappa magnas train for blocks and blocks and see  how many souls are swept up into the Church because of them.  Although, then the question remains, will they tolerate the Gospel read in Latin or the vernacular?   

Links:

Cappaphobia

Ruby Ross Wood

Billy Baldwin

Photo credits: 

Top: From Crescat (That cappa is indeed magna - looks to be about 18 feet.)

Bottom: Zeferelli adjusting costumes on the set of  “Brother Sun, Sister Moon”

After the fall.

The recent fashion weeks in Paris and Milan unveiled menswear collections for Spring 2009.  This year Donatella Versaci based a portion of her collection on Obama, just as last year she drew inspiration from Monsignor Ganswein.  Whatever.

The Parisian collections seem to have been the show-stopper of the entire season however, unveiling the androgynous look for men.  Gay Paris I guess.  Recall a few seasons ago how John Galliano’s (Dior) entire couture (women’s) collection was based upon the French Revolution, with mannequins made-up to look like sexy corpses, wearing jewels and crystals resembling bloodied necks, and so on.  The Paris fashion scene is decidedly debauched and decadent, and it shows. 

Effeminacy.

Although spin from Stephano Pilati of YSL declares - ”The original human nature was not like the present, the sexes were not two as they are now”  a statement taken from Plato, although preposterously updated for the New Age - it is in effect a political statement.  (The feminization of contemporary men is another story - although such fashions are part of the outcome.)  The Paris show is decidedly one of many  innovations designed to eliminate gender barriers and classifications traditional to Western civilization.  Thus people can laugh the fashion shows off as insignificant entertainment in order to hype menswear and garner publicity - but I believe such productions are much more politically motivated than many people are willing to admit.

“The most striking thing is the amount of crossover from women’s collections that seems to be happening,” Michael Roberts, fashion director of Vanity Fair magazine, told The Associated Press.  “A little bit of that goes a long way as far as I’m concerned. I just find it a little bit annoying that I’m supposed to be here for a week watching men’s shows, and I keep having to pinch myself to remind myself that I’m not in the women’s pret-a-porter,” he added. - Source

Pride.

Time will tell.  At one time gay pride parades were just a few hundred people marching in stereotypical gay costumes - and people laughed them off.  Today many still parade around dressed or undressed in outrageous costumes, although now days clergy, politicians, straight relatives and friends, along with thousands of other supporters  join in the celebrations in major cities throughout the world.  It has now become a formidable political movement, influencing government and religion, media and entertainment, and as always, fashion. 

Designer, Stephano Pilati underscored the union of genders with a line for men made in fabrics normally worn by women — crepe de chine, organza, shantung and silk voile, all fabrics which float rather than fall.

In an era obsessed with global warming and sustainable development, the 44 spring/summer 2009 collections displayed at the four-day men’s fashion shows ending Sunday featured light airy see-through linens, silks and soft feathery cottons. - Source 

Changing times. 

Of course, the entire collections were not completely androgynous, straight fashions were included as well.  Shrug.  So anyway, a friend sent me the text of the prophecy of St. Nilus, here is an excerpt:

“After the year 1900, toward the middle of the 20th century, the people of that time will become unrecognizable. When the time for the Advent of the Antichrist approaches, people’s minds will grow cloudy from carnal passions, and dishonor and lawlessness will grow stronger. Then the world will become unrecognizable. People’s appearances will change, and it will be impossible to distinguish men from women due to their shamelessness in dress and style of hair. These people will be cruel and will be like wild animals because of the temptations of the Antichrist. There will be no respect for parents and elders, love will disappear, and Christian pastors, bishops, and priests will become vain men, completely failing to distinguish the right-hand way from the left. - Prophecy of St. Nilus

Links:

Men’s 2009 Paris fashion blurs gender lines. 

Men’s fashion with a feminine touch; Paris 2009

Deconstructing Gender

(Thanks to Paula for the story and links.)

Some people have asked me what Monsignor is wearing under his trousers to create the line across his legs.  His trousers are for hiking and the lower legs zip off to make shorts.  (The photo was taken when he and the Holy Father were on vacation in the mountains.)   Monsignor is very athletic. 

Paying attention to what the Pope is wearing.

It is a big deal, to be sure, as Fr. Zuhlsdorf indicates in a recent post: “The Holy Father, with his choice of vestments and the accouterments for the altar for Mass and for Vespers during Advent, not to mention the change of Master of Ceremony, is giving us a new orientation for divine worship.” -Fr. Zuhlsdorf 

I like the inclusion of the older traditionally fabricated vestments, the highly embellished mitres from previous Popes, and the use of  the throne of Leo XIII.  As one writer put it, in wearing John XXIII”s cope, the mitre of John Paul I, and the regular use of the Leonine throne, along with the crosier first used by Paul VI, all seem to emphasize the Holy Father’s sense of the hermeneutic of continuity.  (Earlier this month, I believe he wore the mitre of Pius IX for the feast of the Immaculate Conception.)

That twisted cross crosier…

Many blogs, too many to count, seem to pay close attention to what the Holy Father is wearing.  On some posts I have read the ongoing criticism of Benedict’s continued use of the crucifix-crosier all three Popes since Paul VI have used.  And of course, the occasional “far out” trad websites have even been known to suggest the bent and twisted crucifix is blasphemous and may be diabolic.  I couldn’t disagree more.

I personally appreciated the modern crucifix-crosier ever since Paul VI began to use it.  Since Pope Paul VI was the first modern Pontiff to be called, “the Pilgrim Pope”, the crosier brought to my mind at least, the Apostle Paul’s words, “When I was among you, I preached only Jesus Christ and him crucified.”  (That’s how I interpreted the symbolism behind Paul VI’s use of it.)  Obviously, the early Popes often used a crosier with a cross, as seen in the above photo of Pope St. Sylvester.  However, I think the main objection traditionalists have is that the crucifix-crosier now in use is simply not traditional.  No doubt, Benedict XVI will show up some day with the triple papal cross anyway, so be patient. 

Liturgical “fashion”.

Fr. John Ubel, the pastor at St. Agnes in St. Paul, Minnesota, has been writing a series of short articles on Legitimate Variety and the Development of Form  in all things liturgical.  This past week-end he wrote about Church vestments for the Sunday parish bulletin.  Without copying verbatim what Fr. Ubel wrote, suffice it to say, as priestly vestments evolved, not everyone in the Church was always happy with the changes.

Father describes the earliest vestments as conical in shape - much as it is now - only with more yardage of fabric back then, while elaborate ornamentation and trims began to be introduced gradually.  This style endured up until the 13th century, until changes in tailoring of the chasuble occurred again in the 15th and 16th centuries.  Those adaptations exist in what is commonly referred to as the “Gothic”  style chasuble.  Father continued to describe briefly the other “Roman style” chasuble sometimes referred to as the “fiddle-back”, since its tailoring resulted in a more minimalist vestment which resembled a fiddle in shape.  (The front piece that is, because of the cut allowing the priest’s arms to move freely.  Read more here.)

Mixing the traditional and contemporary.

Thus, as Fr. Ubel noted, “We are not the only ones today who argue about matters of style.  Ecclesiastical vestments have a rich symbolism, and a proper understanding of history really helps to situate legitimate variety in its proper context, steering clear of needless polemics.”

I mention this to demonstrate that most developments in liturgy or liturgical vesture  often occasioned strong criticism.  Fr. Ubel pointed  out that even St. Charles Borromeo forbade the use of the modern vesture; while a 17th century French bishop vehemently decried the change in vestments, declaring, “they have deformed the priestly garment itself…” and ” they have deprived it of its mystical reason for being the topmost vestment.”  What is so interesting about the bishops opposition, is both men were discussing the fiddle-back vestment, which today is often thought of as the epitome of traditionalism.

[Anyway - I who know very little about priestly vesture, wrote all of this just because I happen to like the crosier of Paul VI.  I think it mixes well with the traditional.]

The Pope’s new clothes. 

A man I admire, Franco Zeffirelli, would like to re-fashion Benedict XVI’s image.  I’d say the Holy Father does not need any help at all - he looks suitably papal to me.  (B16 already got rid of one fashionista (his old MC) - he doesn’t need another.)

[I can't wait until the Holy Father shows up in the triple tiara.]

Photo credit: Whispers

An incredible website to shop for a hat to give your favorite priest, bishop, or cardinal.  The Pope seems to like it.  Although, some priests wouldn’t be caught dead in such things!  (Which makes me wonder how Bishop Christensen is doing in his new clothes.  He once told me he hated cassocks and all that stuff: “Wouldn’t be caught dead in it!”  He said, he did.)

H/T to Fr. Z for the biretta resource.

The Bugnini guy wears Prada.

I’m just having fun with a few titles here - some people have real jobs in publishing, wherein that is all they do - they just dream up titles and headlines.  Anyway, Archbishop Marini, the former Vatican fashion director for liturgical costumes and Master of Ceremonies for papal liturgies has come out with a new book.  Catholic News Service is one of many to have the story:

The book, “A Challenging Reform,” was written by Archbishop Piero Marini, who recently ended a 20-year tenure as papal liturgist. His Vatican career began in 1965 in the office charged with implementing liturgical renewal.Archbishop Marini recounted the rise of a decentralized and dynamic reform movement in the 1960s and its “curialization” in the 1970s by Vatican officials afraid of losing control.

Many of the hard-won liturgical changes were accompanied by tensions and disagreements inside the Vatican’s central bureaucracy, he said.

The archbishop’s book, published by Liturgical Press, was scheduled for presentation Dec. 14 in London, where the author was being honored at a reception hosted by Cardinal Cormac Murphy-O’Connor.

The book focuses in large part on Italian Father Annibale Bugnini, secretary of the consilium and its driving force. As a young priest, Archbishop Marini worked closely with Father Bugnini and at one point was his personal secretary. - CNS 

So anyway…

The Archbishop’s book should be an interesting read - and it just may support some of the criticisms of the post-Conciliar liturgical mess and reforms documented in another book, The Great Facade,  by Christopher Ferrara and Thomas Woods Jr.  The Ferrara/Woods book is a mean one, yet really tells it like it is when it comes to what happened in the Church since Vatican II.  If you are comfortable with the Church as it is, I suggest you never read it.

However, I’m sure Archbishop Marini’s book is more self-congratulatory and affirming of the liturgical changes that were slipped in and imposed upon the Church since the Council.  In fact, Alcuin Reid suggests the new book is hostile to the reforms of Pope Benedict XVI.  If Marini’s book is hostile to the Benedictine reforms, it may well substantiate some of the harsher criticisms of the V-II liturgical reforms posed by the authors of The Great Facade.  The following is an excerpt from a review of Marini’s book from the  British Catholic Herald:

The book is also an act of filial homage by Marini to his mentor, Bugnini. Marini was at Bugnini’s side in the work of reform from the outset while still a young deacon and priest. It is a pity that their close personal association is not clearly acknowledged or discussed here.

Nevertheless, the book is significant because for the first time the political manoeuvring and motivations of Bugnini and Lercaro et al as they sought rapidly to bring about a “a liturgy that would be more pastoral and open to the needs of the contemporary world” are openly discussed.

What is clear is that the implementation of the liturgical reform was politicised from the beginning. The “enemy”, the Congregation for Rites, which was responsible for the liturgy after the Council of Trent, “was still firmly anchored to a limited tradition since the Council of Trent and not in favour of the broad innovations desired by the Council.” - Catholic Herald

It sounds as if Piero Marini’s words may someday be held against him.

[To read reviews for The Great Facade go to: Seattle Catholic; and  Christian Order]

Cross-dressing…

The recent brouhaha over the Sisters of Perpetual Indulgence brought to mind this website, Dressing Up As Nuns.  Some people like to do this.  Not a few people think it means they are wannabe nuns or religious, but I don’t think so.  To be sure, unlike the blasphemous drag queens in San Francisco, most of these people really do esteem religious life.

Perhaps it makes them “feel” holy, maybe it helps them find a sense of discipline and order in their lives.  Who knows?  I knew a man in Boston who went around town dressed in a cassock and carried a brief case.  He was nuts though.  Eventually most of these trannies  realize a habit or cassock doesn’t a nun (or priest) make.

What to wear with what.

With the eventual acceptance of the Extraordinary Roman Rite amongst clergy, many lay people do not know what is required as regards appropriate vestments for the priest celebrating the TLM.  Especially those of us who are used to the low-Church “Lutheran” style (shown at left) many priests have favored in the celebration of the Ordinary Roman Rite:  the alb and stole.

What vestments are de rigueur at the celebration of Holy Mass?

Strictly speaking, with the exception of the “maniple“  - I believe priests celebrating either form of the Roman rite should ordinarily be wearing the following vestments: the amice, alb, cincture, stole, and chasuble.  So what are these things and what is their significance?

The amice: A piece of white linen which covers the priests shoulders.  The traditional vesting prayer explains its meaning:

“Place O Lord, on my head the helmet of salvation, that I may overcome the assaults of the devil.”  When vesting, the priest momentarily places the amice on his head, then over his shoulders.

The alb is a long, white linen tunic which covers the priest’s body.  As he puts it on the priest prays:

“Purify me O lLord, from all stain and cleanse my heart, that washed in the Blood of thee Lamb, I may enjoy eternal delights.”

The cincture is the cord that girds the alb at the waist.  The vesting prayer explains:

“Gird me O Lord, with the cincture of purity, and quench in my heart the fire of concupiscence, that the virtue of continence and chastity may remain in me.”

The maniple is a short narrow band of cloth which matches the outer vestments, and hangs from the left arm.  The prayer explains:

“Let me deserve O Lord, to bear the maniple of tears and sorrow, so that one day I may come with joy to the reward of my labors.”

The stole is the long band of coordinating fabric that is worn around the neck and crosses over the breast of the priest.  It is a symbol of the authority in the Church and of all vestments, the most blessed and significant.  (Which may explain why modern priests simply wear a stole over an alb for Mass.)  The vesting prayer describes its meaning:

“Restore to me O Lord, the state of immortality which was lost to me by my first parents, and although unworthy to approach Thy sacred mysteries, grant me nevertheless to attain eternal joy.”

The chasuble is the outer vestment worn by the celebrant at Mass.  It hangs from the shoulders, in front and behind, down to the knees or lower.  The vesting prayer explains:

“O Lord, Who hast said, ‘My yoke is sweet and my burden light,’ grant that I may carry it so as to obtain Thy grace.” 

The chasuble, stole, maniple, and chalice veilare made as a coordinating set of vestments, normally from precious fabric and always of the same design in the seasonally appropriate liturgical color.  (Note: The so-called “fiddleback” chasuble is not required, any classic Roman chasuble is appropriate for the celebration of either form of the Roman rite.)

The biretta is a three-ridged square hat worn by the priest when he enters and exits the sanctuary for Holy Mass.

I am not certain if the prayers for vesture have ceased to be obligatory in preparation for the Ordinary form of Mass, but I can almost guarantee not very many priests make a ritual out of vesting for Mass any longer.  Although I am fairly certain it is required for the celebration of the Extraordinary form.

[Just a note to priests who favor the stole over alb ensemble for Mass.  If you are disheartened by the casual attire of the congregation at Mass, it might be an indication you should be dressing more formally yourself - that is, vested accordingly.] 

Lead photo: Ecclesiastical fashion show: Fellini’s “Roma”.