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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

What Should Female Lectors Wear At Mass?

Jeff Ostrowski · July 7, 2014

293 Comic AMICE HE COLLEGE GIRLS who acted as lectors for the Newman Center in Lawrence, KS, often wore mini-skirts so revealing it seemed they weren’t wearing pants. I know this because I attended daily Mass at the St. Lawrence Center while studying at the University of Kansas. (For the record, I’m told a new priest “cleaned house” after I left in 2005.)

As a young piano student, I remember being dumbfounded by lectors dressed immodestly and asking the question: What attire should lectors wear? I was taught that women should never wear cassock and surplice.

An ALB is also out of the question, because it’s traditionally a priestly vestment. Current legislation does allow women to wear an alb, but when they do, they’re told they must also wear “a cincture and an amice,” which strikes me as absurd. 1 But here we are not considering what a women lector is allowed to wear: we are asking what they ought to wear.

I SAY AGAIN: THE ALB is traditionally a priestly vestment. The amice and cincture are, too, and have special prayers said by the priest as he puts them on. To my knowledge, there is not one shred of iconographical evidence contradicting the idea that the alb is exclusively a priestly vestment. (Here I am considering iconographical evidence from 1960 going back to the 10th century.) Liturgists in the 1980s put forward the idea that lay Christians might have worn the alb in the earliest centuries of the Church, but selectively “plucking” a vague idea from that time period seems fraught with problems, since we have so little concrete evidence.

Pick up a copy of the Jogues Missal to see how this issue was addressed:

      * *  Jogues Illuminated Missal — A Pew Book for the Ordinary Form


Which of these possible solutions do you prefer?

            298 Lady Lector         301 Lector Woman

The blue cassocks are used for ladies at the Lateran Basilica in Rome.


UPDATE :

Some people have been quoting St. Paul in who said women should be quiet and never speak in Church (I Corinthians 14:34). I’m not sure how that quote should be interpreted in modern times. For example, Pope Pius XII encouraged women to speak in Church (the so-called “Dialogue” Mass), and the 1962 Missale Romanum allows women to make the responses if no male server is present. Furthermore, nuns inside convents have been “speaking” and singing in Church for centuries. But which of us would accuse Pope Pius XII of being ignorant of St. Paul?

However, St. Paul’s quote reminds us to guard against Bugnini’s idea of picking and choosing from a “pristine” age of the Church (while denigrating the organic development that took place through the centuries). Bugnini was either confused or dishonest about what he was doing when he declared: “Here in the Consilium we are not working for museums and archives, but for the spiritual life of the people of God.” Some people have suggested the worst example of Bugnini’s antiquarianism was the “restoration” of the Responsorial Psalm. It’s true that Pope Leo and St. Augustine alluded to something akin to the Responsorial Psalm, but we have absolutely no idea what it actually looked like or sounded like in the 4th century. In fact, I’ll give 10 million dollars to anyone who can show me just one musical score of an “original” Responsorial Psalm from the 5th century.



NOTES FROM THIS ARTICLE:

1   General Instruction of the Roman Missal — §119

In the sacristy, according to the various forms of celebration, there should be prepared the sacred vestments (cf. nos. 337-341) for the Priest, the Deacon, and other ministers:
a) for the Priest: the alb, the stole, and the chasuble;
b) for the Deacon: the alb, the stole, and the dalmatic; the latter may be omitted, however, either out of necessity or on account of a lesser degree of solemnity;
c) for the other ministers: albs or other lawfully approved attire. All who wear an alb should use a cincture and an amice unless, due to the form of the alb, they are not needed.

General Instruction of the Roman Missal — §339

In the Dioceses of the United States of America, acolytes, altar servers, readers, and other lay ministers may wear the alb or other appropriate and dignified clothing.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: Reform of the Reform Last Updated: January 1, 2020

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “Lamb of God” (Musical Setting)
    The MASS OF SAINT ANNE LINE has been quite popular ever since ROMAN MISSAL Third Edition was released circa 2011. You can now download the musical score (PDF) for this setting, placed into five (5) different keys; i.e. “pitch levels” that are high and low. This makes it possible to adjust based upon who’s singing at which time of day.
    —Jeff Ostrowski
    PDF Download • Introit (2nd Sn. Ord.)
    This coming Sunday, 18 January 2026, is the 2nd Sunday in Ordinary Time (Year A). The ENTRANCE CHANT is set according to the fourth mode, which sounds ‘serious’ or ‘dark’ or ‘haunting’ or ‘mysterious’—and its English adaptation corresponds to the authentic version (“Omnis terra adóret”) found in the GRADUALE ROMANUM. In this rehearsal video (click here) I attempt to sing the melody while simultaneously accompanying myself on the organ. I encourage you to print off the organ accompaniment (PDF) and play through it, because the harmonies are delightful.
    —Jeff Ostrowski
    Spectacular Communion Setting!
    The FAUXBOURDON setting of the Communion for the Baptism of the Lord (which will occur this coming Sunday) strikes me as quite spectacular. The verses—composed by the fifth century Christian poet, Coelius Sedulius—come from a long alphabetical acrostic and are deservedly famous. The feast of the LORD’S BAPTISM was traditionally the octave day of Epiphany, but in the 1962 kalendar it was made ‘more explicit’ or emphasized. The 1970 MISSALE ROMANUM elevated this feast even further.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of January (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski
    PDF Download • “In Paradisum” in English
    We always sing the IN PARADISUM in Latin, as printed on this PDF score. I have an appallingly bad memory (meaning I’d be a horrible witness in court). In any event, it’s been brought to my attention that 15 years ago I created this organ accompaniment for the famous and beautiful ‘IN PARADISUM’ Gregorian chant sung in English according to ‘MR3’ (Roman Missal, Third Edition). If anyone desires such a thing, feel free to download and print. Looking back, I wish I’d brought the TENOR and BASS voices into a unison (on B-Natural) for the word “welcome” on the second line.
    —Jeff Ostrowski

Random Quote

“The hostile attitude of music directors and distinguished composers prevented the reform from introducing renewal and pastoral participation into sacred music.”

— Hannibal Bugnini

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