No Sex Capparum For Lent

Here's a somewhat quick design for the celebration of a Solemnity which we call Sex Capparum on account of requiring six cantors vested in copes (cappae in late Latin).

Sex Capparum is the the term used for the triple celebrations in the Gothispanic and early Mozarabic Rite, which is forbidden throughout Lent even if it were the feast of your Patron Saint.   

It entails the decoration of all "three choirs" (the area of the altar, the area of the quire, and the area of the nave) with wall hangings, carpets, flowers, greenery and whatever else is customary.

The triple choir refers also to the the fact that "one choir" means a pair of choristers where one faces north and the other south at the quire of the church.  Alternatively, one simple choir is required for the Memoriae II Capparum (Simple Feasts) and the two pairs required for the Festa IIII Capparum (our Double Feats).

The three pairs of choristers that face each other from the north and south will sing the complex melodies of the celebration of a Solemnia VI Capparum.

These six members of the chapel who vest in copes for the celebration of the Hours and Mass of the greatest feats, are in charge of the melismatic singing peculiar to the Gothispanic and Early Mozarabic Rite,  known as Eugenian or Melodic Chant.

The difference between our Eugenian Chant and  Gregorian Chant (as coined in the  Roman Rite) is the profusion of melesmas or florid adornment during sung vowels.  In Gregorian Chant one sings many syllables on one note, whereas we sing many notes for each syllable.

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The image, besides the places of the six Caperos that constitute the triple choir,  shows the relative positions of the Lector, Subdeacon, and Deacon for their respective readings.

The celebrant seats "ante altare" since the curtains to the altar are open from the beginning of vespers which is the start of the Liturgical Day on account of the mass not being a Feria.

This allows the deacon to occupy the principal tribune (aka pulpitum in Latin or chaire in French)  near the altar which is where the celebrant seats when the altar remains veiled on the Feriae until the Sacrificium (which is the equivalent of the roman Offertory).

This is all part of an introductory text on the Gothispanic and Early Mozarabic Rites in the works, whose aim is explaining some of the particular liturgical practices which have not filtered through the Cisnerian reforms of the sixteenth century to become what scholars have reconstructed into the Hispano-Mozarabic Rite.

We already spoke about the importance of architecture in the liturgy designed by Saint Isidore (patron saint of the internet! yes..) and the other bishops of Spain from the 6th thru 11th centuries here.

Along with this, we are preparing another introductory text on Eugenian Chant with a key which we hope will help the music scholars decipher our apparently elusive neumes.

As now it is Lent, all altars remain veiled, no melodic singing, organum or for that reason, choirs vested in copes are allowed.  No Gloria, no Allelujas, no carpets, no flowers, no bema-tribune with icons or statues in medio choro nor days in which the curtains of the altar remain open for longer than the duration of the mass (other than Sundays).  None of this shall be again until the Vigil of Easter - when instead of the Newborn Jesus (of the image here), the Pascal Candle (or sometimes with it the baptismal font) will be center-stage. 

All time of preparation is in faith of a Resurrection if we have faith, is it not?

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More concrete details to follow soon.

The dragon slaying days are never over

It began a couple of months ago with The Word... well, at least it was then that we heard word of the need of a new chasuble for the upcoming ordination of the Rev Michael Sahdev as priest.  There were a couple of discussions, emails back and forth, and then we readied our vision for his approval.

From there,  we discussed the the measurements and convened on a choice of fabric.

The design was nearly ready, except perhaps, refining the details of the chalice motif for the centre of the chasuble.  The chalice and paten/host are the symbol of the Eucharistic ministry of a new priest and the service he performs in command and commemoration of Our Lord in that rite we know as The Mass. Michael had seen patches with embroidered chalices before... but we imagined something unlike what is done elsewhere these days.  The image was in the mind... then out into a quick sketch, and a request for a little faith, as always, for the cartoon of the design can't compare to what we know it can become.

So off to the works: engineering three-dimensional forms in a computer so they become fabric and thread - easier said than done.

The head is too small to get a good likeness.... so what if we take a bead of ivory and carve it?  Done.
Saint Michael's head of nobler material could not be.  And the priest-to-be worried, "what if it falls off?"  But nothing many rows of thread - and yes, a bit of jeweler's glue too - could not secure.  It shall be attached still a hundred and two, and three hundred years from now, when we are all gone and it is used by another priest, or enshrined in a cathedral museum somewhere.  These vestments are to serve not just at the altar, but as testament of our sacred arts, our devotion and represent the customs and the culture of our times.  Should someone forget how and in what regard religion was held in our days, they should see this and trust in our resolve, our witness of the faith was deliberate, and steady, and respectful.  This is our witness.

So along came the halo and the wings, and the dragon at his feet (with a little forked tongue hanging to the side, for the devil is slain, defeated, pierced by the archangel's spear and no longer cause for fear as the story goes).

And there were pearls, as the clouds upon which the fight of good and evil once ensued.  And then a shrine to protect its memory and encapsulate it, for this chapter described in the tiny scene, dynamic and symbolic, is but part of a larger mystery: that of the chalice and host which represent the blood and body of Christ.

The little shrine takes the place of the knob which is ubiquitous in the chalices used in the Christian liturgies.  In the medieval and Renaissance periods there are instances of this, so Gothic gables and forms were used to harmonize the whole.

Issuing from the chalice and host are rays of light of gold, for they represent the covenant of our salvation by following the precepts of Christ: foremost of which is to drink the wine and eat the bread in memory of Him.

Here we see Father Michael during the celebration of his first mass and perhaps the symbolism is clearer than ever.  While he consecrates the bread and wine at the altar, the design on his chasuble is a visible symbol of the salvific mystery being carried out in the said consecration.

As chalices go, it is apt that he was given a token one by the Bishop during the ordination, and a real one by the members of the Vestry of the church where he was baptised, confirmed, and worshiped until this Saturday when he was ordained at the Cathedral and returned to the church for his first mass.

We hope he wears this chasuble on every anniversary of his ordination and be reminded not just then, but every time he  has to vest it, of the weighty office and tasks, but also the great honour of serving as the agent of salvation for the faithful and even those who perhaps do not yet belief - but attracted by the shine of the chalice, the beauty of our religion which is designed to echo the Holy! Holy!Holy! chanted in heaven, be instructed into its deeper meaning, and the reason of its being.

May your patron in the little shrine, Saint Michael the Archangel, guard and protect you, Father, and may he help you defeat the evils of the world so that the mystery of salvation contained in the chalice be accessible to all. Thank you for allowing Klave Centesca the opportunity to add to the treasures of Our shared Christian faith for now and posterity, and may the Peace of the Lord remain always with you.

The Legend on the design reads: IHS : MICHAEL + PRIEST + JUN 3 + A.D. 2017 + as testament of the day it was first used.    So as we say back home: Ad multos annos!

Sarum Blue Vestments Inspired by The Stained-Glass Windows behind the Altar

We've just finished and delivered this Chasuble, Maniple and Stoles in Sarum Blue in readiness  for Advent at the Chapel of Saint Andrew.

As with all projects, it began with a sketch after discussing fabrics and trims in the range of colours appropriate for the season.  The measurements we already had from a previous project:

One must only look at the beautiful stained glass windows, where the vestments will be worn, to realize that it is a perfect choice for its setting.  To harmonize with the velvet altar frontal that the church already owned, a matching blue hanging has been projected:

Also, keeping in mind the other traditional colour of the season, as well as the pre-existing altar hangings,  the lati-clavi running up and down the front and back of the chasuble are in imperial-purple velvet.  To frame these velvet orphreys, we've used an antique-gold galloon.

Beneath the chasuble you can see the Priestly Stole and Maniple, which have the further addition of a lush gold fringe.

To match, a Deaconal Stole was also made:

This stole has our now signature angled shape with appliqued roundels through which slides a cord with tassel that keeps the front and back together.  The cord easily slides to accommodate the deacon's needs.

These vestments were made thanks to the generous donation of a parishioner and close collaboration between Father Charles, and us, here at Klave Centesca!  May they serve the altar of God and the community ministered there for many years!