OF MITRES AND MEN III

Today we shall take a look at the middling mitres: the auriphrygiate types.  These are differenced from the precious mitres, essentially, in the lack of jewels - which renders them lighter in weight and thus more comfortable to wear for extended periods of time.

They are also sometimes called golden mitres, because in their simplest of forms, they are merely made of golden cloth without further ornamentation... well, maybe the arms of the owner embroidered on the infulae such as those pictured by JP Sonnen over at Orbis Catholicus that once belonged to Cardinal Siri (something we at Klave Centesca love being able to do for Bishops, Archbishops, Cardinals and Pope with quality like that of yesteryear!  But made in the USA, today.)

The name of Auriphrygiata, though, comes from the fact that Phrygia was famous for its golden embroideries back in Roman times.  These would have been of scrolling foliages or figural, and were highly priced - adorning the purple toga of the triumphant generals and later the robes of the imperial family.  In time, the church was endowed with donations bearing these gold needleworks in the style of Phrygia, and eventually, herself began commissioning paraments and vestments with such ornamentation.

One of the earliest extant auriphrygiate mitres are those which depict the martyrdom of Saint Lawrence and Saint Thomas Becket:

These would have been used on the patronal feasts of the saints depicted, since for such occasions it was usual to have processions and long liturgies in which lighter mitres could be employed.

Toledo, according to its own traditions, still uses one for Requiems and other occasions (for which the Roman Rite only allows the Mitra Simplex in white) which depicts the crucifixion:

Mitres with whole scenes embroidered on them were once fairly common.  France certainly has some of the most beautiful examples.  This one, in the Musee de Cluny today, has scenes of the Nativity and is one of our favorite:

Others, rather than having whole scenes, show just the iconic representation of a Saint, Martyr, Virgin or Jesus himself - usually with their respective attributes.  Here are some worthy of note:

Then, there are those that depict a cross, a dove or other symbols.

Lastly, as with the case of the precious mitres, we end up with the veritable gardens that became popular from the 1700s to the 1900s.  This example, in polychrome flowers from Germany is quite striking:

Something else to note is that these "garden" mitres generally use a multitude of colors in their embroideries, while only gold is used in the Mitra Pretiosa for flowers and foliage - which need to better showcase the colored jewels sewn onto the fabric.

We hope you have enjoyed the small selection of embroidered mitres.  We are currently working on a couple of mitres inspired by some of these seen here which will be put up for auction.  Also, if you want something spectacular, you know how to reach us.  From a simple coat of arms on the infulae to something more elaborate - we do love a challenge here at Klave Centesca!

As a sample, here's the mitre inspired by the beautiful rose window tracery at the Basilica of Our Lady in Guelph, Canada, that we embroidered with the arms of Bishop Ustrzycky as a gift from one of his parishioners, our friend Massimo Marcone:

And a monochromatic auriphrygiate version in the works, to be auctioned off once we finish putting it together:

Blessings to all!

Of Mitres and Men II

Previously, we spoke about the antiquity of the mitre.  Back when it was plain even on the most solemn of celebrations (here).  Now, let's explore some of the trends in adornment it picked up through the centuries.

ORNAMENTATION: I
THE MITRA PRETIOSA

The ornamentation of the mitre can take many forms.  The first known was the addition of the titulus (vertical band) and the circulus - the horizontal one that runs along the bottom edge.  Of this type, are the oldest extant mitres scattered throughout certain lucky cathedral museums in Europe - often rescued from old tombs and restored for exhibition by textile curators.

This modality has remained popular from the beginning of the last millennium until the present day.

Pope Francis makes almost exclusive use of these even on the most solemn of feasts - Easter and Christmas - which is quite correct even if admittedly, we'd love to see more of the wearable works of art in the Papal Sacristy in good use...

The perpendicular bands signify this is a "mitra pretiosa" even if no other embellishment is present.  If you are a bishop, it is likely your work-horse mitre.  It works on all occasions when the simplex is not called for, since it may even be used during Lent and Advent which otherwise calls for the mitra auriphrygiata in the Official Rubrics.

One step above in embelishment is encountered in the 12, 13 and 1400s.  It is the same mitra pretiosa but this time with at least two rondels or "jewels" on the white spaces.  At this period, we also begin seeing mitres of colours besides white  - which Leovigildus would probably disapprove of - as does the Roman Caeremoniale Episcoporum, most emphatically by the 1700s.   

Eventually these jewels proliferated - but the titulus & circulus remained:

And then, we have the last set of mitrae pretiosae...  where they no longer have the distinguishing titulus & circulus, but instead, showcase a veritable garden of jewels strewn throughout. They were specially common from the 1700s on, like the fiddleback chasubles, which makes them the most Roman in taste.  Indeed, right before Vatican II, every western bishop of the Roman Rite (aka Tridentine Rite, and now Extraordinary Form) would have had at least one for the most solemn of occasions.

Depending on the style of vestments you wear, the architecture of the basilica or cathedral... some are more appropriate than others, though technically, they are all the same: mitrae pretiosae.

Stay tuned for: 

THE MITRA AURIPHRYGIATA  

&

OF MITRES AND WOMEN

... next week!