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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 8 of 9

Fr. David Friel · August 23, 2015

HIS WEEK concludes our look at the vesting prayers, which accompany each of the priestly vestments worn at Holy Mass. Today we turn our attention to the chasuble.

This vestment, which is worn over the alb, cincture, & stole, has a long history. Like many other vestments, the chasuble is closely linked with the garb of ancient Rome. It is the most visible, and often the most ornate, of the priestly vestments.

Chasubles are worn only for the celebration of Mass, not during other Sacraments or devotions. In some places, it is common for concelebrating priests to forgo wearing a chasuble; if a chasuble is available, however, it should always be worn. Moreover, wherever concelebration occurs frequently or with large numbers of priests, it is laudable that an adequate supply of chasubles should be maintained.

Here follows the prayer to be offered as the priest vests with the chasuble:

Domine, qui dixisti: Iugum meum suave est et onus meum leve: fac, ut istud portare sic valeam, quod consequar tuam gratiam.

O Lord, Who said: My yoke is easy and My burden light; make me so able to bear it that I may obtain Thy favor.

This beautiful, short prayer is a direct reference to the Letter to the Colossians, wherein St. Paul exhorts us: “Above all these things, put on charity, which is the bond of perfection” (Colossians 3:14). Thus, the symbolism of the chasuble is the virtue of charity, which is literally “put on” over all the other vestments. Like the maniple, the chasuble is also a reminder to the one who wears it of the hardship entailed by the Gospel (cf., 2 Timothy 1:8).

There are, of course, many different styles of chasubles. The two major styles are the Roman and the Gothic. Roman chasubles, sometimes called “fiddlebacks” because of their shape, closely resemble the yoke worn by animals and alluded to in the above vesting prayer. Gothic chasubles, meanwhile, are said to symbolize the overflowing charity to which the prayer alludes. Both charity and the bearing of the yoke of Christ are requirements of authentic Christian life.

N CONCLUSION, the vesting prayers are a gift to us from the tradition of the Church. Their recitation is a pious practice which I highly recommend to all my brother priests. In these prayers, I have found a rich source for meditation and worthy preparation for the sacred liturgy.

Fr. Mauro Gagliardi, consultor to the Office for the Liturgical Celebrations of the Supreme Pontiff, says it well:

While it is possible to use different prayers, or simply to lift one’s mind up to God, nevertheless the texts of the vesting prayers are brief, precise in their language, inspired by a biblical spirituality and have been prayed for centuries by countless sacred ministers. These prayers thus recommend themselves still today for the preparation for the liturgical celebration, even for the liturgy according to the ordinary form of the Roman Rite.

I have witnessed the powerful effect of a priest who sets the tone by silently praying his vesting prayers. While visiting a priest friend some time ago, I had the opportunity to watch him prepare for daily Mass in his parish’s sacristy. It was a memorable experience for me, because I was confronted with the thought of how much more calm and prayerful his sacristy was than my own. The lectors, servers, and sacristan in his parish knew that Father was praying, and they instinctually decided that they should follow suit. Since that time, I have tried to set a similar example in my preparation for Holy Mass.

Too often, sacristies are places of hustling, bustling, and distraction. The sacristy should instead be a place of silence, focus, and prayerful preparation. As the GIRM states:

Even before the celebration itself, it is commendable that silence to be observed in the church, in the sacristy, in the vesting room, and in adjacent areas, so that all may dispose themselves to carry out the sacred action in a devout and fitting manner. (GIRM #45)

Similar advice comes to us from a sermon of Saint Charles Borromeo:

A priest complains that as soon as he comes into church to pray the office or to celebrate Mass, a thousand thoughts fill his mind and distract him from God. But what was he doing in the sacristy before he came out for the office or for Mass? How did he prepare? What means did he use to collect his thoughts and to remain recollected?

What better means could a priest use to prepare for the sacrifice of Calvary than to offer these vesting prayers, handed down to us through the tradition of the Church?

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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Corpus Christi Watershed

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

“The argument moves from the existence of the thing to the correctness of the thing: what is, ought to be. Or, a popular variant: if a thing is, it doesn’t make any difference whether it ought to be—the correct response is to adjust, to learn to live with the thing.”

— ‘L. Brent Bozell, Jr.’

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