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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 4 of 9

Fr. David Friel · July 26, 2015

HE WORD “ALB” is simply the Latin word for “white,” so it should be no surprise that the alb is always made with white fabric. Its basic purpose is to cover the minister’s secular clothing during the sacred liturgy, thereby reminding those present that what transpires in the sanctuary is a foretaste of the heavenly realm.

The imagery of the saints wearing white in heaven is scriptural. In the Book of Revelation, the bride of the Lamb is described wearing “a bright, clean linen garment” (Rev 19:8). Later in the same chapter, “the armies of heaven” are said to be riding horses and “wearing clean white linen.” The magnificent hymn, Te Deum, moreover, refers to the “white-robed army of martyrs” praising God (Te mártyrum candidátus laudat exércitus).

Another facet of the alb’s significance is that it should serve to remind us of our Baptismal identity. In this sense, the alb hearkens to mind the white garment we received at our first Sacrament, as well as the Pauline theme of “putting on” Christ (“All of you who were baptized into Christ have put on Christ,” Gal 3:27; “Clothe yourselves with the Lord Jesus Christ,” Rom 13:14; “Put on the new self,” Eph 4:24).

As the priest puts on his alb, he offers the following prayer:

Dealba me, Domine, et munda cor meum; ut, in sanguine Agni dealbatus, gaudiis perfruare sempiternis.

Cleanse me, O Lord, and purify my heart, that, washed in the Blood of the Lamb, I may attain unto everlasting joys.

There is a very surprising image used in this prayer, and it centers on the rich word dealbatus. The English translation I have provided above gives this word as “washed,” but it could more literally be translated as “having been made white.” The word “alb” even appears within this longer word. Isn’t it curious to suggest that, being washed in Blood, one may be made white? This unusual image, I believe, is meant to strike our ears strangely, leading us to deeper meditation on the cleansing power of Christ’s sacrifice.

In the latter portion of the prayer, a complex word appears. Perfruare is the second-person singular form of the present active subjunctive. It is, furthermore, a deponent verb (i.e., a verb that is active in meaning but passive in form). The use of the subjunctive here makes a beautiful theological point. The prayer asks that the one praying might become worthy/deserving of everlasting joys. Implicit in the prayer, therefore, is the notion that we are not, of ourselves, worthy or deserving of heavenly bliss. We may become so, though, by the sanctifying grace that comes to us by the action of the sacred liturgy.

Yet another phrase in this prayer warrants closer consideration. The words Munda cor meum appear not only in this vesting prayer, but also in one of the private prayers prayed inaudibly during Holy Mass. These are the opening words of the prayer of preparation offered by the deacon or priest before proclaiming the Gospel. At both of these moments, how fitting it is to offer a preparatory prayer for purity.

Like the other vestments we are considering in this series, the alb is traditionally a priestly vestment. In recent decades, this understanding has been eroded as the alb has been reinvented as the vesture for a variety of functions within the liturgy. JMO considers this topic HERE.

Next week, we shall consider the vesting prayer associated with the cincture.

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 Tagged With: 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

    Music List • (3rd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 3rd Sunday of Lent (8 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its stern INTROIT (“Óculi mei semper ad Dóminum”) is breathtaking, and the COMMUNION (“Qui bíberit aquam”) with its fauxbourdon verses is wonderful. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    “Samaritánæ” (3rd Sunday of Lent)
    With regard to the COMMUNION for the 3rd Sunday of Lent (Year A), the Ordo Cantus Missae—which was published in 1969 by the Vatican, bearing Hannibal Bugnini’s signature and approbation in its PREFACE—inexplicably introduced a variant melody and slightly different words, as you can see by this comparison chart. When it comes to such items, they’re always done in secrecy by unnamed people. (Although it is known that Dom Eugène Cardine collaborated in the creation of the GRADUALE SIMPLEX, a book considered by some to be a travesty.)
    —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

Quick Thoughts

    “Dies Irae” • A Monstrous Translation
    It isn’t easy to determine what Alice King MacGilton hoped to accomplish with her very popular book—A Study of Latin Hymns (1918)—which continued to be reprinted in new editions for at least 34 years. This PDF file shows her attempt to translate the DIES IRAE “in the fewest words possible.” There’s a place for dynamic equivalency, but this is repugnant. In particular, look what she does to “Quærens me sedísti lassus.”
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski
    Grotesque Pairing • “Passion Chorale”
    One of our rarest releases was undoubtably this PDF scan of the complete Pope Pius XII Hymnal (1959) by Father Joseph Roff, a student of Healey Willan. One of the scarcest titles in existence, this book was provided to us by Mr. Peter Meggison. Back in 2018, we scanned each page and uploaded it to our website, making it freely available to everyone. Readers are probably sick of hearing me say this, but just because we upload something that doesn’t necessarily mean it’s wonderful or worthy of imitation. We upload many publications precisely because they are ‘grotesque’, interesting, or revealing. Whereas the Brébeuf Catholic Hymnal had an editorial board that was careful and sensitive vis-à-vis pairing texts with tunes, the Pope Pius XII Hymnal (1959) seems to have been rather reckless in this regard. Please take a look at what they did with the PASSION CHORALE and see whether you agree.
    —Jeff Ostrowski

Random Quote

“It introduces us to a still and serious world, deserted and rigid, without colour, without light, without motion; it does not gladden, does not distract; yet we cannot break away from it.”

— ‘Schweitzer on the THEME from Bach’s “Art of Fugue”’

Recent Posts

  • “Dies Irae” • A Monstrous Translation
  • PDF Download • “Holy, Holy, Holy”
  • Music List • (3rd Sunday of Lent)
  • “National Survey” (Order of Christian Funerals) • By the USCCB Secretariat of Divine Worship
  • “Samaritánæ” (3rd Sunday of Lent)

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