Vestments of the Liturgy

Chapter 12

This is a continuation from Chapter 11. Liturgical Use of Color.

Bear in mind that this was composed in 1939, well before the Second Vatican Ecumenical Council and some rubrics and requirements may have been modified...Other changes will be noted accordingly. Nevertheless, some may find the history fascinating.
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XII - Vestments of the Liturgy

Possibly none of the externals of the Mass are as little understood or cause as much comment among Catholics and non-Catholics alike, as the sacred vestments. Retaining as they do, more or less faithfully, their ancient and archaic forms, they are often looked upon as symbols rather than as garments.

It is true that symbolic meanings have become attached to them, but the vestments have their origin in the ordinary dress of the Romans who lived in the second and third centuries. With the possible exception of the amice, every vestment worn by the priest at the altar represents an article of the Roman costume of that period.

Their history brings us in close and vital contact with the lives of the early Christians, since the style of the very clothes they wore as they followed their every-day occupations or went joyfully to martyrdom, remains in the form of ecclesiastical vesture.

APOSTOLIC PRESCRIPTION AND TRADITION: We read in the Old Testament that God commanded Moses to "make a holy vesture for Aaron thy brother for glory and for beauty. . . in which he being consecrated may minister to Me." (Exodus XXVIII, 2-3). Under the Jewish law every detail of the vestments worn by the high priest in the service of the Temple, was provided for in this divine command.

But with the establishment of the Christian religion, Christ gave no instructions as to the garb which the apostles and their successors should wear in the celebration of the Mass. The matter rested entirely on "apostolic prescription and tradition."

Indeed, it was not until the Middle Ages that liturgical costume became fixed and permanent. The vestments have not increased in number since the time of Pope Innocent III (d. 1216) but many changes have been made in size, form, material, and ornamentation.

With the exception of the "toga," which could be worn only by Roman citizens, the bishops and priests wore the long, flowing, beautiful robes of the time for all religious functions. Since there was no difference in the fashion and cut of the garments used for ordinary dress and those worn at the altar, it was necessary to create some distinction between secular dress and liturgical vesture. This was accomplished by making the latter as rich and beautiful as possible and by using it exclusively for divine services. As soon as these garments were worn at the altar they became "sacred vestments."

SYMBOLIC MEANINGS: While fashions in secular dress gradually changed, the sacred vestments, for the most part, remained unaltered. After a bishop's death, his successor reverently wore his vestments, keeping in mind their hallowed associations. When new ones were required it was only natural that they, too, should follow the old shapes and designs which had already become traditional in the minds of the people as being especially suitable for divine service.

Since for many centuries the Church was spiritualizing and transforming these secular garments into ecclesiastical vestments, it is little wonder that even though they were not chosen for their symbolism, they lend themselves admirably to symbolic interpretations.

Like the language of the liturgical colors, the mystical association of the vestments is just as much a part of them as the embroidery with which they are adorned. Liturgical writers differ more or less in regard to their meanings, but the explanations which we give have been generally accepted ever since the thirteenth century. They refer to the instruments of Christ's passion.

The amice brings to mind the veiling of the Savior's eyes when the Jews called out to Him: "Prophesy unto us, O Christ: who is he that struck Thee?" (Matthew XXVI, 68);

the alb corresponds to the white garment in which Christ was clothed by Herod and his court;

the cincture recalls the cords which bound Him to the pillar for the scourging;

the maniple is a reminder of the fetters with which His hands were tied;

the stole indicates the heavy burden of the cross,

while the chasuble brings to mind the purple robe in which Christ, already crowned with thorns, was reviled and mocked by His tormentors.

The moral symbolism of the vestments, that is, the virtues which the vestments call to mind, is indicated by the prayers which the priest says as he puts them on for the celebration of Mass.

PURPOSE OF THE VESTMENTS: The passage which we have quoted from the Book of Exodus clearly indicates why God commanded that "holy vesture" should be worn in the worship of the Old Law. The dress of the Mosaic cult did not in any way influence the liturgical costume of the Catholic priesthood, but the recollection of the vestments which God Himself designed for the high priest Aaron and his sons, emphasized its use as becoming and in keeping with the dignity and mystery of the holy sacrifice of the Mass.

The vestments serve to distinguish the clergy from the laity, but their primary purpose is to give honor and glory to God:

(1) by the use of precious materials and rich ornamentation, and
(2) by inspiring reverence for the sacred functions and the ministers who perform them.

The vestments are a reminder to the celebrant at the altar that he is, in a special sense, "another Christ," an "alter Christus." When vested in the sacred robes of his office he is withdrawn temporarily from the world into the sanctuary of God.

BLESSING OF THE VESTMENTS: All the vestments must be blessed before they may be worn during the Mass. The blessing which today is strictly enjoined, may be given by a bishop or by a priest especially empowered to do so. The blessing is imparted by means of prayer, the sign of the cross, and holy water, and is retained as long as the vestments preserve their original shape and are suitable for use.

Worn-out vestments and those which have become too soiled and shabby for further use, should be burned and the ashes thrown into the sacrarium.

Additional spiritual value is given to the vestments by the blessing which the Church imparts to them. On account of this blessing they are not merely liturgical, but they become "sacred vestments." They are dedicated permanently to the service of God and the Church also invokes a blessing upon those who wear them. They are a reminder of the "wedding garment" of sanctifying grace which should clothe the minister as well as the participants in the holy Sacrifice.

ARRANGING THE VESTMENTS FOR MASS: A priest vested for Mass wears an amice, alb, and cincture, all white and made of pure linen (the cincture is sometimes an exception to this rule); also a maniple, stole, and chasuble fashioned of silk or some other appropriate material, and colored according to the office of the day.

When the vestments are laid out for Mass, they are placed on the sacristy table or on the vestment case in the following order:

* The chasuble is adjusted first so that the lower half of the front part will hang down; the lower part of the back is then folded over the upper part of the front half.

* The stole, folded in four parts, is laid across the chasuble and the maniple is placed on the stole.

* The doubled cincture may be arranged on the vestment in the form of the letter M.

* The upper part of the alb is then laid on the other vestments, front down, with the skirt adjusted so that it may be easily thrown over the head.

* The amice, unfolded, with strings neatly disposed, is extended over the alb. The amice is the last vestment laid out, and is, therefore, the first one which the priest puts on.

The cassock and the biretta are not sacred vestments. The former is the ecclesiastical dress of all clerics except those who belong to religious orders or congregations which wear a distinctive religious garb called a habit. The biretta is worn by all the clergy except friars and monks, when entering and leaving the sanctuary, and at certain times during the services. The color of both garments varies with the office of the priest or prelate wearing them.
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Questions

Why do the vestments cause comment among Catholics and non-Catholics? From what did they originate? What vestment is a possible exception? Why do the vestments remind us of the early Christians?

What command did God give to Moses in regard to vestments? Did Christ give a similar command? How was the matter of vestments determined? When did liturgical costume become fixed? What was the distinction between secular dress and sacred vestments?

How and why were the ancient forms of the vestments retained? Why do the vestments lend themselves to symbolic interpretations? To what is this association compared? What scenes in our Lord's passion do the following vestments recall: Amice? Alb? Cincture? Maniple? Stole? Chasuble?

According to the passage from Exodus, what was God's purpose in commanding the use of vestments? What effect did the recollection of the Jewish vestments have on our own? How is God honored by the wearing of liturgical vestments? How are they a reminder to the celebrant?

What rite must be performed before the vestments may be worn at Mass? How and by whom is this blessing imparted? How long do they retain the blessing? How should soiled and worn-out vestments be disposed of? What are the effects of the blessing which the Church gives the vestments? Of what are they a reminder?

Name the six vestments and the materials of which they are made. How and in what order are the vestments laid out for Mass? What are the cassock and biretta and when and by whom are they worn?

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Adapted from Altar and Sanctuary, An Exposition of the Externals of the Mass
by Angela A. Glendenin (© 1939)
Published by the Catholic Action Committee
The Catholic Action Series of Discussion Club Textbooks