• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
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.

Follow the Discussion on Facebook

Filed Under: Articles Tagged With: Traditional Catholic Vestments, Vesting Prayers Last Updated: March 29, 2021

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    “Offertory” at Catholic Funerals
    I have argued that the OFFERTORY—at least in its ancient form—is more of a responsory than an antiphon. The 1962 Missal specifically calls it “Antiphona ad Offertorium.” From now on, I plan to use this beautiful setting (PDF) at funerals, since it cleverly inserts themes from the absolution of the body. Tons more research needs to be done on the OFFERTORY, which often is a ‘patchwork’ stitching together various beginnings and endings of biblical verses. For instance, if you examine the ancient verses for Dómine, vivífica me (30th Sunday in Ordinary Time) you’ll discover this being done in a most perplexing way. Rebecca Maloy published a very expensive book on the OFFERTORY, but it was a disappointment. Indeed, I can’t think of a single valuable insight contained in her book. What a missed opportunity!
    —Jeff Ostrowski
    “In Paradisum” • Gregorian Chant
    As a RECESSIONAL on All Souls’ Day (November 2nd), we will sing In Paradísum Dedúcant Te Ángeli (PDF). When it comes to Gregorian Chant, this is one of the most popular “songs.” Frankly, all the prayers and chants from the traditional REQUIEM MASS (Missa exsequialis or Missa pro defunctis) are incredibly powerful and never should’ve been scuttled. Click here to hear “In Paradisum” in a recording I made this afternoon. Professor Louis Bouyer spoke of the way Bugnini “scuttled the office of the dead” in this fascinating excerpt from his memoirs. In his book, La riforma litugica (1983), Bugnini bragged—in quite a shameful way—about eliminating the ancient funeral texts, and even admitted those venerable texts were “beloved” (his word) by Catholics.
    —Jeff Ostrowski
    “Music List” • All Souls (2 November)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 2 November 2025, which is the Commemoration of All the Faithful Departed (“All Souls”). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the top-notch feasts website alongside the official texts in Latin. In my humble opinion, it’s weird to have the feast of All Saints on a Sunday. No wonder the close associate of Pope Saint Paul VI said the revised KALENDAR was “the handiwork of a trio of maniacs.” However, I can’t deny that sometimes the sacred liturgy consists of elements that are seemingly contradictory: e.g. the Mode 7 “De Profúndis” ALLELUIA, or the Mode 8 “Dulce lignum” ALLELUIA on the various ancient feasts of the Holy Cross (3 May, 14 September, and so on).
    —Jeff Ostrowski

Quick Thoughts

    Gospel Options for 2 November (“All Souls”)
    We’ve been told some bishops are suppressing the TLM because of “unity.” But is unity truly found in the MISSALE RECENS? For instance, on All Souls (2 November), any of these Gospel readings may be chosen, for any reason (or for no reason at all). The same is true of the Propria Missæ and other readings—there are countless options in the ORDINARY FORM. In other words, no matter which OF parish you attend on 2 November, you’ll almost certainly hear different propers and readings, to say nothing of different ‘styles’ of music. Where is the “unity” in all this? Indeed, the Second Vatican Council solemnly declared: “Even in the liturgy, the Church has no wish to impose a rigid uniformity in matters which do not implicate the faith or the good of the whole community.”
    —Corpus Christi Watershed
    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski

Random Quote

“The Church has always kept, and wishes still to maintain everywhere, the language of her Liturgy; and, before the sad and violent changes of the 16th century, this eloquent and effective symbol of unity of faith and communion of the faithful was, as you know, cherished in England not less than elsewhere. But this has never been regarded by the Holy See as incompatible with the use of popular hymns in the language of each country.”

— Pope Leo XIII (1898)

Recent Posts

  • Never Work For A Priest Or Bishop Who Believes Sacred Music Should Be “Entertainment”
  • When Pilgrims Sing, the World Disappears
  • “Offertory” at Catholic Funerals
  • “In Paradisum” • Gregorian Chant
  • The Beauty of the Propers for All Souls’ Day (and the Requiem Mass)

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.