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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

    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 was amusing to read in our papers that German Catholics were now using the vernacular at High Mass. In some parts of Germany they have been doing just that for well-nigh four hundred years! The cathedral in Osnabruck has solemn High Mass every Sunday with the whole chapter present, and the introit Gloria, Credo, Sanctus and Agnus Dei are sung … in German. Imagine, for four hundred years almost!”

— Hans Ansgar Reinhold (Dec. 1944)

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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