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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 9 of 9

Fr. David Friel · March 29, 2021

EVERAL years ago (in 2015), I posted a series of reflections (links below) on the vesting prayers prayed by the priest as he dons the various parts of his liturgical garb. At that time, I did not include the dalmatic, which is the outer vestment proper to the deacon. Having received a reader’s request, however, I am now adding another installment to this series, presenting and reflecting on the vesting prayer that accompanies the dalmatic.

Much like the priest’s chasuble, the deacon’s dalmatic is a vestment for Mass, not for the other Sacraments or devotions, when it would often be appropriate for the deacon to wear a cope. It is a sleeved vestment, worn over the alb, cincture, and stole. Although it is not uncommon to see deacons assisting at Mass vested only in alb and stole, this is not envisioned by the rite. The dalmatic should always be worn when one is available, and parishes that enjoy the service of a deacon ought to have dalmatics available in each liturgical color.

It should be noted, moreover, that the dalmatic is neither solely nor originally a diaconal vestment. It originated, rather, as a pontifical vestment worn by the bishop of Rome beneath his chasuble. According to the Liber pontificalis, it was Pope Sylvester I (314-335) who “decreed that deacons should wear dalmatics in church, and that their left arms should be covered with pallia half wool, half linen.” 1

Still today, on solemn occasions, the bishop may wear the dalmatic underneath the chasuble. For bishops, as for deacons, the dalmatic is a symbol of service. Thus, when the bishop performs the mandatum on Holy Thursday, he removes his chasuble, but not his dalmatic (see Caeremoniale episcoporum, no. 301).

The prayer to be offered as the deacon (or bishop) dons the dalmatic is as follows:

Indue me, Domine, indumento salutis et vestimento laetitiae; et dalmatica iustitiae circumda me semper.

Clothe me, O Lord, with the garment of salvation and the vestment of gladness, and encompass me always with the dalmatic of justice.

This prayer makes clear allusion to a passage from the Book of Isaiah. Using nuptial imagery to describe the new life of the restored Jerusalem, the prophet writes:

I will greatly rejoice in the LORD,
my soul shall exult in my God;
for He has clothed me with the garments of salvation,
He has covered me with the robe of righteousness,
as a bridegroom decks himself with a garland,
and as a bride adorns herself with her jewels. (Isaiah 61:10, RSV)

There are also echoes of St. Paul’s famous exhortation to put on the armor of God:

Stand therefore, having girded your loins with truth, and having put on the breastplate of righteousness, and having shod your feet with the equipment of the gospel of peace; besides all these, taking the shield of faith, with which you can quench all the flaming darts of the evil one. And take the helmet of salvation, and the sword of the Spirit, which is the word of God. (Ephesians 6:14-17, RSV)

As in the case of the chasuble, dalmatics come in several styles. Very commonly, however, they are adorned with two vertical stripes, and frequently with either two crossbars or a solid square on front and back. Images of Saint Stephen invariably depict him dressed in such a dalmatic.

Juan de Juanes, “Saint Stephen accused of Blasphemy” (c. 1555-1562)

Something similar can also be seen in many depictions of the Annunciation, which often portray the angel Gabriel vested as a deacon. This is very appropriate, since Gabriel is the bearer of glad tidings and, at his word, the Word of God becomes incarnate.

Hans Memling, “The Annunciation” (c. 1465-1470)

Ravenna, a city renowned for its ancient churches filled with mosaics, had apparently adopted the dalmatic from Rome by the sixth century. This can be said on the basis of an important mosaic on the side of the apse at San Vitale, which depicts Justinian with Archbishop Maximianus. The archbishop and his deacons are portrayed wearing dalmatics with two stripes.

Side Apse Mosaic at San Vitale, Ravenna

The deacons, moreover, are seen carrying a paten, a Book of Gospels, and a thurible.

Without a doubt, the dalmatic is a very worthy vestment, rich in history and symbolism. Praying the vesting prayer associated with the dalmatic is sure to inspire the deacon (or bishop) who wears it to live more justly, seeking salvation more earnestly and radiating more fully the gladness of Christ.

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


NOTES FROM THIS ARTICLE:

1   The Book of Pontiffs (Liber Pontificalis): The ancient biographies of the first ninety Roman bishops to AD 715, rev. ed., trans. Raymond Davis, Translated Texts for Historians 6 (Liverpool: Liverpool UP, 2010), no. 34.7, p. 15.

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

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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

    Good Friday Flowers
    Good Friday has a series of prayers for various parties: the pope, catechumens, pagans, heretics, schismatics, and so forth. In the old liturgical books, there was no official ‘name’ for these prayers. (This wasn’t unusual as ‘headers’ and ‘titles’ for each section is a rather modern idea.) The Missal simply instructed the priest to go to the Epistle side and begin. In the SHERBORNE MISSAL, each prayer begins with a different—utterly spectacular—flower. This PDF file shows the first few prayers. Has anyone counted the ‘initial’ drop-cap flowers in the SHERBORNE MISSAL? Surely there are more than 1,000.
    —Jeff Ostrowski
    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
    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

At papal Masses, the regulations against tardiness were more stringent than at Masses celebrated by cardinals or bishops. Giovanni Maria Nanino records that any singer who is not in his place—and in his vestments—by the end of the repetition of the “Introit” will be fined eight vinti. At papal Vespers, the singer who is not present at the “Gloria Patri” of the first psalm pays a fine of fifty balocchi.

— Giovanni M. Nanino (d. 1607), Papal “Maestro di Cappella”

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