Liturgical Vestments

Der folgende Beitrag gibt einen Überblick über den Paramentenbestand des Domes zu Salzburg. Auf den andauernden Gebrauch der Paramente während der Liturgie und daraus entstehende Schäden sowie erforderliche Pflegemaßnahmen wird ebenso eingegangen, wie auf die durch einen Mottenbefall im Jahr 2016 notwendig gewordenen Maßnahmen zur Schädlingsbekämpfung. Besonders die dafür nötige Auslagerung der Paramente in ein externes Depot stellte eine große logistische Herausforderung dar.

The publication retains a catalogue-like structure already used for earlier books of “Lithuanian Religious Art” which is considered by the authors of this book to be the most consistent and convenient way to introduce the heritage of each church and chapel. The book includes all items of arts and crafts with artistic, historical, typological or other value that have been found during expeditions because the authors follow a modern approach to the research of religious art which states that the artistic value cannot be the only and determining criteria of the item`s value.
A comprehensive research of the history, architecture and artistic heritage of Joniškis Deanery published in the three books substantially adds to the history of this land and its culture – a catholic culture first of all. It allows discerning some general features of historic development and artistic expression typical for this Northern Lithuanian region in addition to the revelation of the unique destinies of each church and chapel, architectural peculiarities and properties of interior ensembles and individual art works. It is the local history and clergymen, parishioners, customers and masters who lived and worked here who essentially determined and formed the diversity of architectural and artistic heritage which has survived in the region.
All liturgical vestments founded in the churches and chapels of Joniškis Deanery are represented in the texts by Gabija Surdokaitė-Vitienė.

When Philipp the Good, Duke of Burgundy (1396–1467), obliged his court to wear black as the new exquisite color of the court garments, it was no less than a revolution of inherited royal vesture conventions. This revolution established black, purple, and gold as the new aristocratic dress code. As this essay shows, Philipp’s color revolution only becomes comprehensible in the context of the Burgundian court’s elaborate textile production, which arrayed the protagonists with a semantics of color. The analysis will focus on the vesture practices of the royal congregation of the Golden Fleece and, especially, the paraments. Both as media of aristocratic representation and as artistically produced objects for a specific ritual context, the paraments tellingly reflect the concept of Philipp’s color strategy.

An overview of the history and general principle of distinctive clerical dress for leading divine worship, followed by a discussion concerning the most common robes and vestments currently worn in the Church of England. The paper concludes with some evaluative thoughts and questions.

Ecclesiastical textiles play an important role for art history and our understanding of the history of Katholizism in Europe. They reflect the tradition, power and influence which Christianity had on Europe – even building up European identity. This paper attempts to the fact that “old” parements still exist in many churches in Austria, embracing small village churches as well as large pilgrimage churches and cathedrals or monasteries. In some cases, historical textiles are still in use – not only artefacts of the 19th century, but also numerous baroque parements and even items from earlier periods. We focus on the use of and the handling with the ecclestical garments, problems and challenges. As they feature historical value and deep symbolic connotation, sacred meaning as representation of Christ, they need special treatment, which will be discussed here.

En este capítulo se analiza el impacto visual de las insignias litúrgicas propias de los obispos en la Baja Edad Media castellana, a partir del análisis de fuentes escritas e iconográficas. La diversidad de soportes plásticos en la que se plasma la imagen del obispo castellano –escultura exenta y relieves de portadas y sepulcros, pintura mural, vidrieras, artes suntuarias, libros litúrgicos y otros manuscritos…–, se convierte en un interesante corpus para estudiar la iconografía litúrgica pontifical. Los atributos iconográficos de la figura del obispo son principalmente la mitra, el báculo y el palio, además de las vestiduras litúrgicas para la eucaristía. La evolución y morfología de dichas insignias litúrgicas puede analizarse tanto desde los numerosos ejemplos artísticos conservados en la Corona de Castilla, como desde las diversas fuentes textuales, especialmente manuscritos pontificales. De esta manera, imágenes de obispos como Teodomiro en el Tumbo A de la Catedral de Santiago de Compostela, Mauricio en la portada del Sarmental de la Catedral de Burgos, la escultura de Lope de Barrientos en actitud orante o el Pontifical de Luis de Acuña, nos permiten abordar la singularidad de las insignias pontificales en la Corona de Castilla y cuáles elementos de esa configuración iconográfica son también compartidos con otras áreas geográficas. / This chapter analyses the visual impact of liturgical insignia used by Late Middle Ages Castilian bishops. This study is founded on written and iconographic sources. The diversity of media where the image of the Castilian bishops were depicted –sculptures and relieves of façades and sepulchres, wall paintings, stained glasses, sumptuary arts, liturgical book, s and other manuscripts…– becomes an interesting corpus to start the study of pontifical liturgical iconography. Main bishop’s iconographic attributes are the mitre, the crosier, the pallium, and the liturgical vestments for the Eucharist. The liturgical insignia morphology and evolution can be analysed not only thanks to the artistic examples preserved in the Crown of Castile, but also through different textual sources, more specifically through the pontifical manuscripts. In that way, images of bishops such as Teodomiro in the “Tumbo A” of Santiago de Compostela, Mauricio in the Sarmental portal of Burgos cathedral, Lope de Barrientos in his funeral portrait, and Luis de Acuña in his Pontifical allow us to study the singularity of the pontifical insignia in Castile and to determine which of those iconographic topics were common to other geographical areas.

The act of wearing sacred garments to celebrate religious rites is an important element of the liturgy. In the early centuries of Christianity, liturgical attire was not meant to be different from secular wear, and it was only in the eleventh century that the custom spread to Rome from northern Europe of wearing vestments made of precious materials for the clergy. From this moment on, precious materials and images would be more or less a constant in Western liturgical attire. This essay discusses – starting from some examples still extant or known from documents – the role of figural images on sacred vestments in the Middle Ages and the Renaissance, attempting to explicate the relation between the image and the space where it appears, the body, liturgical gestures, religious and political message, and function in terms of identity, as well as to show the aspects of continuity and discontinuity in the role of images worn in the liturgical sphere from the late Middle Ages to the Renaissance.

Floral ornaments are the most popular décor elements in various art branches and in textiles, in particular. In the long history of textile evolution, representations of plants have always been used for fabric patterns. In most cases, flower motifs were selected but their approach and peculiarities of arrangement or combinations with each other varied in different periods as well as the popularity of specific plants. The aim of the article is to identify and name these motifs and their fluctuations. The article analyses the floral ornament of the 18th century European fabrics. The study presented in this article is based on fabrics used to make sacral vestments preserved in churches of Vilkaviškis, Kaišiadorys, Šiauliai and Vilnius dioceses. Despite being only a part of former abundance and variety of fabrics, it provides sufficient grounds to discuss the peculiarities of the European textile of the 18th century and the spread of floral ornament characteristics.
The patterns and selection of specific floral motifs of the 18th century were influenced by the general culture, aesthetic attitudes and interest in Chinese, Japanese and Indian arts and textile products. The patterns of this century were also affected by the ideas of Enlightenment which required to stay close to nature and demanded that the art remained natural. The ornaments incorporated plants that were fashionable, fascinated the society and were introduced in Europe at that time. Flowers that appeared in interiors or gardens of monarchs as well as in collections created under their orders were copied. The ornaments were arranged with the sole aim of aesthetic expression.
The ornaments of that period were created based on the studies of nature, also using botanical books and atlases of plants with drawings of exotic and local flora. These publications were used by the designers of fabrics of all stylistic trends.
In the beginning of the 18th century, the patterns and ornamentation of fabrics were composed in the bizarre style. The ornaments consisted of the motifs of heavily stylised pineapple blooms, various ferns, spleenwort, laurel, bent grasses, palm leaves, and mushrooms as well as of blooms and leaves of cyclamen, dandelion, pomegranate, and alpine clematis. The patterns featured a linear design producing a reduced, simplified view of a plant transformed into a diagram. Around 1712-1718, less stylised floral motifs began incorporating in the true bizarre style. Between 1718 and 1732, the floral component included “rivers” of plants and bouquets of flowers.
In the beginning of the 1730s, large, soft, three-dimensional floral ornaments that looked as if painted became dominated in the patterns of fabrics. Similar to the Flemish and Dutch still-lifes of the 17th century, fabric ornaments of the 18th century depicted bouquets of plants composed of flowers and fruits that bloom or ripen in different seasons and plants from different vegetation periods. The painting-like interpretation of the drawing motifs not always allows to identify specific plants. The representatives of pictorial style used points rentrés technique to reveal the luxuriance of vegetation, its shapes and colours, and create three-dimensional compositions.
The patterns of fabrics from the 1720s to 1750s reflect the chinoiserie taste. Designers combined plants with fragments of landscape, garden arbours and human figures which were depicted in a scale much smaller not only than the bouquet itself but also tinier than individual blooms or leaves. The patterns of fabrics feature blooming peony, China aster, poppy, and chrysanthemums. The imitation of Japanese and Chinese art in ornaments was expressed both through usage of the motifs of certain plants of non-European origin and through application of some of the composition and drawing interpretation principles typical for Eastern art.
The floral fabric ornament of the 1730s to early 1750s can be defined as painting-like, plastic and soft pattern. In the 6th decade of the 18th century, plant motifs became smaller and the line of floral ornament winding along the fabric was supplemented with stripes of ribbons or lace. Winding lines of plant branches from which tiny flower bouquets appear as if squirted became the basis of the pattern composition. In the 1750s to 1780s, the images of plants became smaller but they were organic elements of the entire drawing interconnected with other décor details. Starting with the 1770s, ornaments grew smaller and scarcer. The patterns comprised small flowers: daisies, matthiolas, pansies, ranunculus or cornflowers. Since the 8th decade, the dominant part in fabrics was the background instead of the images of plants.

Photographs of Liturgical Vestments in the
Holdings of the Museum of Kraków as a Source
for Reconstructing the History of an Artefact –
Selected Examples

In the process of documenting old liturgical
vestments, we are dealing with artefacts which have seldom
maintained their original shapes. The changes in their
appearance resulted from the reforms implemented by
Charles Borromeo following the Council of Trent, which
entailed the considerable reduction in the length and width
of chasubles. Other significant factors that had an impact
on the appearance of the paraments included the wear and
tear of their materials and the consequent repairs and alterations,
as well as the stripping down of the vestments
of their original expensive ornaments (e.g. golden threads,
gems, valuable embroidery) in order to reuse them. In the
holdings of the Museum of Kraków we can find a number
of photographs dating from the end of the 19th and
the beginning of the 20th centuries in which the liturgical
vestments from Kraków’s churches and monasteries were
immortalized.
The paper presents the value of photographs as an important
iconographic source that enables us to reconstruct the changes in the appearance of liturgical vestments which
have been preserved until our times. The condition of the
vestment at the moment the photograph was taken is recorded
in the image; thus, upon comparison with the surviving
parament, we are also able to notice certain details
that are normally not included in inventory descriptions.
Among such details we should mention the replacement
of galloons and orphreys, the transfer of fragments of embroidery
onto new base, or the degree of damage prior to
conservation.

Bu çalışma Ortodoks Kilisesi ve Katolik Kilisesi’nde günümüzde kullanılan dini giysileri karşılaştırmalı olarak incelemeyi amaçlamaktadır. Bu kapsamda özellikle diyakon, rahip ve episkoposların giydikleri litürjik giysiler incelenmiş ve her iki kilisedeki kullanımları ele alınmıştır. Bununla birlikte çalışmada her iki kiliseyle ilgili bilgiler verilmiş, giysilerin sembolizmlerine değinilmiştir. Çalışmada yer alan giysilerin isimlerinde her iki kilisenin kendi terminolojileri kullanılmış Yunanca adlandırmalar İngilizce transkripsiyonları ile aktarılmıştır.

The present study intends to shed light on the origin of the use of the episcopal mitra in the divine service of the Eastern Orthodox Church. On this subject many opinions have been issued, but most of them have not been well founded on the historical sources, or have been based on false suppositions, apparently convenient. One of these opinions, which dominated Eastern theology, is that the mitra was assumed by the Patriarch of Constantinople immediately after the fall of the Byzantine Empire, who received from the Turkish Sultan the status of ethnarch, as leader of the Christians in the Ottoman Empire. Thus, in the absence of a profane ruler, the patriarch of Constantinople began to bear the most important emblem of the Byzantine dignity, the imperial mitra, this custom being taken over in time by the other bishops of the East. The present research aimed to verify this information, to approve or disapprove some of the suppositions, and to reconstruct the context in which such an object was introduced in the Orthodox cult.

Burials of Catholic priests are often characterised by slight differences to the norms obligatory for traditional
burials. The priests’ graves situated in a crypt and under the church fl oor are often positioned in the opposite direction
to the rule, referring in this way the role of a priest as a shepherd of believers even after death. During excavation
works conducted inside the parish church of St. Nicolas in Gniew, many burials containing fragments of silk grave
garments were revealed, including remains of priests in a crypt with pieces of liturgical vestments. Two chasubles and
stoles were selected for futher analysis. They were made from silk textiles together with ornamented mercery. The
burials date between the 16th and 18th centuries.

An engolpion is a medallion with an icon worn by orthodox bishops nowadays. In some local traditions, among Greeks and Russians, for example, the bishopʹs engolpion is also called panaghia (gr. Παναγία-most Holy), when the icon represented on the engolpion is the Mother of God, as is often these latter days. Some of bishops, usually starting with the rank of patriarch, they wear a second engolpion, with the representation of the Savior Jesus Christ. In the first centuries of Christianity the medallions (engolpions) were not worn only by the bishops, but also by other clerics and even some lay people. These medallions could be crosses or representations of saints, often carrying relics inside them.

– The Whalley Abbey vestments are known to be one of only two surviving sets of pre-Reformation High Mass vestments which were conserved in the UK in the 1980s and early 1990s. The Whalley Abbey altar frontal is associated with the vestments but was not considered for treatment until 2009 following its re-discovery during a collections survey. The author explains how and why there were differences in the conservation treatment of the textiles within the group. Analyzing the treatment of the Whalley Abbey vestments and comparing these approaches to the conservation of the Whalley Abbey altar frontal, some twenty years later, raised an important awareness of the developing demands of the viewer and the developing ethics of the textile conservator. The final treatment of the altar frontal sought to value all elements as significant parts of the altar frontal, thus preserving the evidence of its previous use as well as its future role as a displayed textile. At the same time the treatment also took into account the previous conservation work that was completed on the other vestments to maintain aesthetic continuity within the display. ENFOQUES COMPARATIVOS EN LA CONSERVACIÓN DE TEJIDOS: LAS VESTIDURAS DE WHAL-LEY ABBEY Y EL ALTAR FRONTAL DE WHALLEY ABBEY: RESUMEN – Las vestiduras de Whalley Abbey son conocidas como algunos de los dos únicos juegos sobrevivientes de vestiduras de Misa Mayor de la pre-Reforma que se conservaron en el Reino Unido durante los años 1980 y comienzos de 1990. El altar frontal de Whalley Abbey está relacionado con las vestiduras pero su tratamiento recién fue considerado en 2009 luego de su redescubrimiento durante una inspección de las colecciones. El autor explica cómo y por qué había dife-rencias en el tratamiento de conservación de los tejidos dentro del grupo. Analizar el tratamiento de las vestidu-ras de Whalley Abbey y comparar estos enfoques con la conservación del altar frontal de Whalley Abbey, unos veinte años más tarde, creó conciencia de las demandas progresivas del espectador y la ética del conservador de tejidos. El tratamiento final del altar frontal procuró evaluar todos los elementos como partes significantes del altar frontal, y preservar así la evidencia de su uso anterior como también su futura función como tejido en exhibición. Al mismo tiempo, el tratamiento también consideró el trabajo de conservación previo que se realizó en otras vestiduras para mantener la continuidad estética en la exhibición.

Chapitre 2 de la thèse de doctorat de Bruno Restif, soutenue en décembre 2004 à l'Université Rennes 2 Haute-Bretagne sous la direction d'Alain Croix : La Paroisse, cadre d'application de la Réforme catholique en Haute-Bretagne (diocèses de Rennes, Dol et Saint-Malo). Histoire d'un processus de transformation religieuse et culturelle (XVIe et XVIIe siècles).
Titre du chapitre 2 : L'église au centre de la paroisse (XVIe siècle).

In medieval Europe, embroidered textiles were indispensable symbols of wealth and power. Owing to their quality, complexity, and magnificence, English embroideries enjoyed international demand and can be traced in Continental sources as opus anglicanum (English work). This sumptuously illustrated book draws on new research and detailed photography to offer an introduction to their design, production, and use. Essays by leading experts explore the embroideries' artistic and social context, while catalogue entries examine individual masterpieces. Medieval embroiderers lived in a tightly knit community in London, and many were women who can be identified by name today. Comparisons between their work and contemporary painting challenge modern assumptions about the hierarchy of artistic media. Contributors consider an outstanding range of surviving examples, highlighting their exquisite craftsmanship and exploring the world in which they were created.

O. SERGI, L’Amata e il Giardino. Senso, energia e vita nei parati liturgici, in I Giardini di Dio. Simbologia floreale nell’arte sacra , a cura di M.G. PICCIOTTI  - O. SERGI , Catalogo della mostra, Catanzaro, Complesso Monumentale del San Giovanni, 12 novembre 2001-10 gennaio 2002, Soveria Mannelli, Calabria Letteraria, 2002, pp. 23-30.

El presente artículo analiza la iconografía de las vestiduras litúrgicas del clero a partir de su codificación y regularización en la Baja Edad Media, recalcando la importancia del conocimiento del aparato ritual para la interpretación de la imagen. Las fuentes escritas de los siglos XII y XIII, y en especial el Rationale divinorum officiorum de Guillermo Durando, nos aportan referencias textuales esenciales para conocer la evolución de los ornamentos y sus simbolismos. De forma paralela, la sistematización de los colores litúrgicos por parte del Papa Inocencio III (1161-1216) en su obra De sacro altaris mysterio nos aporta datos que son fundamentales para interpretar la evolución cromática del vestuario en relación con el año litúrgico y sus fiestas. Vestiduras interiores como el amito, el alba, el cíngulo, el roquete o el talar están presentes en la iconografía medieval; por su parte la casulla, el pluvial, la dalmática o la sobrepelliz, aparecen cubriendo a las anteriores. Especial mención merecen las insignias clericales (estola y manípulo) por su elevada carga simbólica y representativa en la Baja Edad Media. 
This article analyses the iconography of the clerical liturgical vestments through the study of its codification and regularisation in the Late Middle Ages, laying stress on the importance of understanding ritual apparatus for the correct interpretation of images. Some 12 th - and 13th -century written sources, especially the Rationale divinorum officiorum by Guillaume Durand, provide us references to understand the evolution of the ornaments and their symbolism. At the same time, the systematisation of liturgical colours made by Pope Innocent III (1161-1216) in his De sacro altaris mysterio, displays some important facts to interpret the colour evolution of costumes related to the liturgical year and its feasts. Interior ornaments such as the amices, albs, cinctures, rochets or talars can be found in medieval iconography, along with the chasuble, the cope, the dalmatic and the surplice. Clerical insignia (stole and maniple) require a specific attention due to its symbolism in the Late Middle Ages.

At archaeological excavations carried out in Early Modern graveyards and churches sometimes graves of catholic priests can be identified. Especially in cases of good preservation the liturgical garments in which the priest was buried, can be identified very clearly. Ecclesiastical textiles (vestes sacræ) play an important role for art history and our understanding of the history of catholicism in Europe. Beside descriptions of the archaeological finds, this paper also attempts to the fact that “old” paraments from the 16th–18th century are still stored in the sacristies of many churches in Austria, embracing small village churches as well as cathedrals and monasteries. In some cases, historical textiles are still in use – not only artefacts of the 19th century, but also numerous Baroque paraments and even items from earlier periods.

El artículo presenta algunos apuntes sobre la incorporación de las vestiduras litúrgicas a las representaciones iconográficas del culto cristiano en la Antigüedad Tardía y la Alta Edad Media. Para ello se señalan los principales problemas historiográficos y las fuentes más relevantes para reconstruir los orígenes de las prendas litúrgicas del rito romano. A continuación, se propone un recorrido por algunos ejemplos figurativos que permiten trazar la primera historia visual de los ornamentos sagrados, prestando especial atención a tres focos. En primer lugar, la presencia de las vestiduras litúrgicas en los programas pictóricos murarios y musivarios de los primeros siglos. En segundo lugar, la representación de los clérigos y sus ornamentos en pequeñas piezas altomedievales de marfil. Finalmente, la codificación del atuendo sagrado en el desarrollo de la incipiente iluminación litúrgica de los siglos IX y X. Abstract. The article explains some notes on the emergence of liturgical vestments into the iconographic representations of the Christian liturgy in Late Antiquity and Early Middle Ages. To that end, main historiographic problems and written sources which reconstruct the origins of the liturgical vestments of the Roman Rite are explained. Later on, a tour of some figurative examples, tracing the early visual history of sacred vestments, is proposed. These offer special attention to three themes: In the first place, the presence of liturgical vestments in the mural programs and mosaics of the first centuries. Secondly, the representation of the clergy and their vestments in small pieces of early medieval ivory. Finally, the codification of the liturgical dressing in the development of the incipient manuscripts' illumination of the 9th and 10thcenturies.

General Synod of the Church of England decided in 2017 to allow the Anglican priests to "dress down" for services. The idea is to allow flexibility to wear what they want, instead of traditional liturgical vestments, to make the church "more accessible and relevant to the modern world". A similar experience is that of the Catholic Church after the Second Vatican Council with the emergence of a more flexible policy on everyday clerical attire. Vestments of the Orthodox Church clergy on the other hand, are concurrently getting more luxuriant, richer and a lot more expensive. In the light of these recent developments, this article will explore the origins and significance of clerical attire, both liturgical and non-liturgical; but more importantly, it will also review their purpose in the contemporary Christian communities in the 21st century Australia. The substantial question here is what aspect of Church wardrobe seems to be more beneficial for its mission, one of fashionable beauty or the beauty of tradition.