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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

Vesting Prayers • Part 1 of 9

Fr. David Friel · July 5, 2015

HAT IS THE PURPOSE of sacred vestments, and what is their origin? These are questions that most ordinary Catholics probably could not answer. A very good (and very concise) explanation of liturgical vesture is given by Fr. Mauro Gagliardi, consultor to the Office for the Liturgical Celebrations of the Supreme Pontiff (available from the Vatican webpage). His article is well worth a look.

The Roman Rite could have developed in such a way that the Sacraments are celebrated by priests who dress in the clothes common to their culture, but it did not. Instead, a system of sacred vestments worn only for worship arose. I would argue that this development has two major advantages over the wearing of profane clothing.

First, wearing sacred garments reserved for the liturgy helps the sacred ministers to adopt a sense of detachment from the secular sphere and the ordinary concerns of daily life. The external vesture, in other words, produces a positive interior effect.

Secondly, sacred vestments serve to emphasize the ministerial role of the one who wears them. As the above-mentioned Vatican webpage puts it:

One might say that the “camouflaging” of the minister’s body by the vestments depersonalizes him in a way; it is that healthy depersonalization that de-centers the celebrating minister and recognizes the true protagonist of the liturgical action: Christ. The form of the vestments, therefore, says that the liturgy is celebrated in persona Christi and not in the priest’s own name. He who performs a liturgical function does not do so as a private person, but as a minister of the Church and an instrument in the hands of Jesus Christ.

These are two of the strongest reasons why the Church adopted sacred vestments for the liturgy and continues their usage to the modern day.

Clerical vestments derive from the regular clothing of the ancient Greeks and Romans. In the earliest days of the Church, therefore, it was not the external form of the vestments that distinguished them from secular clothing; it was, rather, the quality of the garments. Only the highest quality fabrics and handiwork were used for liturgical vestments, and these vestments were used only for worship.

Later, after invasions, demographic shifts, and the simple passage of time, the common dress among Westerners underwent alterations. Clerical garb and liturgical vestments, however, remained unchanged. Secular clothing was thereby further distinguished from liturgical vesture.

Then, in the Carolingian period (circa 8th Century), new distinctions arose within the liturgical garments. These changes were meant to distinguish the three levels of Holy Orders (for example, chasubles as different from dalmatics). It was in this time that the sacred vestments reached their definitive form, remaining essentially unchanged in the centuries since.

Each of the vestments worn by the priest at Mass is accompanied by a prayer to be said as it is donned. These prayers are biblically, theologically, and spiritually quite rich. Over the coming weeks, I will present these vesting prayers along with a reflection on the prayer, itself, and the significance of the particular vestment.

Part 1 • Introduction

Part 2 • The Hand Washing

Part 3 • The Amice

Part 4 • The Alb

Part 5 • The Cincture

Part 6 • The Maniple

Part 7 • The Stole

Part 8 • The Chasuble

Part 9 • The Dalmatic

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

Filed Under: Articles, Featured Tagged With: Roman Collar Distinctive Garb, Traditional Catholic Vestments, Vesting Prayers Last Updated: March 29, 2021

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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President’s Corner

    ‘German’ Introductions for Hymns
    German organ books have an enchanting habit of including introductions for each and every hymn. For example, consider this snazzy example found in a German hymnal published in 1902. In the Saint Jean de Brébeuf Hymnal, that melody is called “Laudes Mariae” and was married to Omni Die Dic Mariae, with a popular English translation (“Daily, daily, sing to Mary”) by Father Henry Bittleston, an Oratorian priest. Notice they also added a ‘tailpiece’ or ‘playout’ or postlude at the end—a very German thing to do!
    —Jeff Ostrowski
    Buckfast Abbey Weighs In
    Dom John Stéphan was a Benedictine monk of Buckfast Abbey in South Devon, England. On 4 February 1933, he published this interesting letter in THE TABLET. Have you seen the exterior of Buckfast Abbey? It’s beyond gorgeous. I doubt there’s a more arresting Abbey in the entire world. Dom Stéphan’s letter is concerning this momentous collection, which our organization obtained, scanned, and uploaded.
    —Jeff Ostrowski
    Responsorial Psalm Fauxbourdon?
    When it comes to singing Responsorial Psalms in Fauxbourdon, what does this sound like in practice? Can such a thing be done successfully with volunteer choirs in real Catholic parishes? Listen to this audio excerpt from Good Friday and see what you think. Our parish volunteer choir did so well this year—and the ceremonies were ‘standing room only’. For the record, that musical score can be downloaded (completely free of charge) from the flourishing feasts website.
    —Jeff Ostrowski

Quick Thoughts

    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski

Random Quote

“We know that originally the offertories of the repertoire included a series of verses, just like the introit and the communion, but generally more ornate. Many of these are musical compositions of great beauty. They quickly fell into disuse, and we find them only in the most ancient manuscripts. The only remaining trace of this older arrangement in our present-day liturgy is that of the offertory of the Requiem Mass.”

— Dom Joseph Gajard (1956)

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  • PDF Download • “Catholic Hymnal & Service Book” (632 Pages)

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