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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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Corpus Christi Watershed

President’s Corner

    PDF • “3-Voice Motet” (Father De Laet)
    I believe 99% of our readers will recognize this hymn tune. Perhaps Father Edgard De Laet should have called it a ‘hymn’ instead of a ‘motet for three voices’—but he’s technically correct, since MOTET is defined as: “a short piece of sacred choral music, typically polyphonic and unaccompanied.” The even verses are for three voices, as you will see if you download the PDF score at #20245. The odd verses may be song a cappella SATB or unison with organ.
    —Jeff Ostrowski
    PDF Download • “Hymn for 2 Voices”
    Readers who click on this video will see that it starts with verses of the “Pange Lingua” hymn by Saint Thomas Aquinas (d. 1274) arranged for two voices. However, there’s a polyphonic refrain (“Tantum Ergo”) for three voices, taken from Kevin Allen’s Motecta Trium Vocum. If your choir is very small, this piece is for you! You can download the PDF score free of charge—and you can also utilize the rehearsal videos for each individual voice—by navigating yourself to #20323.
    —Jeff Ostrowski
    “Holy Name Hymn” (2-Voice Arrangement)
    When we post a direct URL link, we frequently get thousands of downloads. But when scrolling is required, very few take the time. I mention this because those who click on this URL link and scroll to the bottom can download—completely free of charge—a clever 2-voice arrangement for a famous hymn to the Most Holy Name of Jesus. In a pinch, it can be nicely sung by one male and one female! It will be of interest to those who seek arrangements for two voices.
    —Jeff Ostrowski

Quick Thoughts

    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    “Reminder” — Month of January (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“How on earth in the [post-conciliar] liturgy for the dead should there be no more mention of sin and expiation? There’s a complete absence of imploring the Lord’s mercy. […] Although the texts were beautiful they were still lacking in the sense of sin and the sense of mercy. But we need this! And when my final hour comes, ask for mercy for me from the Lord, because I have such need of it!”

— Pope Saint Paul VI (3 June 1971)

Recent Posts

  • PDF Chart • “Plainsong Rhythm”
  • PDF • “3-Voice Motet” (Father De Laet)
  • PDF Download • “Hymn for 2 Voices”
  • (January 2026) • “Children Singing Plainsong”
  • “Inquiry” • For Music Directors of Cathedrals and Larger Parish Churches

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