A Rhapsody In Blue Chasuble

Today we shall share the new chasuble we've made for Father Michael Sahdev.  You may remember the red one from a couple of years ago ... memorable because of it's dragon-slaying Archangel enshrined within the pommel of the 3D chalice embroidered on its breast...  if you don't, check it out here.

That embroidered chalice has caused much sensation - one day, we've pledged, that design must be realized in real silver and gold... so the real blood of The Lord it may hold - but so far, it sees a second incarnation in this new chasuble too.  At least in the tiniest of ways... but ever so present:

The choice was obvious when we discussed some design or theme for the planned white vestment.  Doing the chalice again seemed like a good way to have a link between the first chasuble and the new one... but why merely copy?  What about placing it on the altar? Have Jesus Himself as priest and Sacrifice.

But we had also discussed incorporating some blue... a nudge to Mary.  White vestments are used for the Marian Feasts as well as the Baptisms, Weddings, celebration of non-martyred saints, and of course: Easter, Christmas and All Hallows' Day.

Standing at 6'6" tall, that's a lot of fabric in a gothic chasuble... so we needed something more than plain white fabric... something with a large enough pattern, enough body to stand and drape gracefully, and this pale silver and gold floral brocade which would have been at home in a 17c painting fell from heaven, as it were.

A royal blue lining was that touch of Mary... yet... finding the electric blue brocade interwoven in silver and gold had everyone in jubilant expectation of seeing what could become of all these seemingly disparate parts.  Like a rhapsody: it is episodic, contrasting, capriciously majestic, and extravagantly blue.   Could we give it any other name?

You know it had to be what it is:  The Rhapsody in Blue Chasuble.

But beyond the obviously external, the evident even from the farthest pew in church... it is also a deeply special and intimate homage to the inspiration which fills the breast of the priest who wears it:

At the center, as we already saw, is the chalice with the blood and the flesh shining above: Jesus as the sacrifice and priest at once.  God sacrificing Himself to Himself.  Something every priest remembers when re-enacting that first mass.

To his right is the precursor Saint John the Baptist, His cousin, who recognized Him even when each was still within the womb of their mothers...  and speaking of Mary Full Of Grace, she stands behind, supporting the fruit of Her womb, with a hand on His shoulder.

John, of course holds a silver shell as those used to baptize... for lest anyone forgets, he was not only the one to sprinkle Jesus with the waters of The Jordan, but also His cousin... and cousins seem to always hold bunny ears or some such in pictures, if they can - do they not? 

So, the raised arm in the gesture of baptizing is our way of remembering that even in the most serious of subjects there should be mirth, for after all, The Agapeic Meal is a heavenly sight and nothing to frown over, solemn as it is.

Mary, all the while, holds a candle.  

This recalls Jesus being called "Light of the World" and also a nod to her Churching, also known as The Purification of Mary (February 2nd, 40 days after The Christ's birth).  In some of the Romance languages birthing is equated with the mother "giving light" to her child: "dar a luz" in Spanish and Portuguese.  Sometimes they also gift chasubles (Hi Pam!). 

Family is thus here represented.  It was, after all, the mother and the aunt and the cousins of Father Michael who invested him with his own first chasuble the day of his ordination.  Something to remember not just when wearing that special red chasuble, but also this white one on ever more happy occasions to come.

Speaking of inspiration, the other two figures represent the patron saints of the most important parishes in which the priest in question has served:  Saint Benedict of Nursia, in his monastic habit represents his childhood parish, and church where he said his first mass.  The confessor kneels opposite Saint Philip The Evangelist, who had been one of the original Seven Deacons in Jerusalem, and is the namesake of the church where Father Michael says mass now.

Detail of the Kissing Cross on the Priestly Stole.

 So there you have it.  From the broadest sight to the smallest of details; for the farthest spectator to the most inquisitively near-sighted inspector:  The Rhapsody in Blue chasuble should be as good as any other instrument in the work of evangelizing those who should wonder or ask "why the blue?" or "what does the little cup mean?".  

When everything has a reason, and the logic is ever to point to the source and ends of all... we should be satisfied that a good thing has come to be.  And so, it is.  The design, from the mind, onto the paper and into the stitches in thread, now too: is as it ought - put to the good service.

A Chalice Pall Original

Last December we had the honour to work on a Chalice Pall for Canon Francis Altiere of the Institute of Christ the King in Kansas.  This is a square of linen stiffened with board which is used to cover the chalice while it is at the altar.  This prevents foreign objects (which can range from pieces of plaster from the ceiling to gnats, or even the strong aroma of the incense) mixing with its contents.  As with everything connected with the honour and glory due to God, it is fitting to render it as beautifully as our humble hands and imaginations can manage.  This is the result of our latest efforts:

It was a special piece since we worked on it through the Feast of the Expectation (also called "Maria de la O" because of the "Oh-Antiphons" sung that week) which is the octave preceding Christmas.  It paralleled the labors of the Virgin Mary and by the 25th, as the new-born King was celebrated, so too His name had already been embellished with these pearls on Wisdom in the pall.


Aptly, it reached Canon Altiere in time to be used for the Epiphany. You can see images of the celebration at the Old Saint Patrick's Oratory facebook page.

We would like to share our process towards making our one of a kind pieces when we are commissioned here at Klave Centesca.

We usually have an initial communication to understand the purpose, place, and circumstances for which the work is required.  Sometimes it is the look of a chalice, style of an altarpiece or time period which sparks the imagination.

The image is then translated into a couple of design options.  In this case, we had discussed a sunburst with the IHS in the center, perhaps embellished with some pearls:

From the initial choices, we have a starting point to tweak the design further.  We always aim at creating a one of a kind piece.  

Once digitized, we discussed a few other options and came up with these further variants after settling for the "Romanic" border with pearls.

 

Then which trim to choose?

And finally after we convene on the final details, the piece is finished. 

The Chalice Pall with Pearl Embroidery in white Linen and Gold commissioned by Canon Francis Altiere, Christmas 2017

Picking and choosing from the different options is always a possibility, as in this case Canon Altiere suggested using the same metal flowers he had seen on a mitre we did a couple of years ago but without the embroidered rosettes:

 As you can see, this is why we always call our pieces a collaboration.  Coming up with something extraordinary is our mission, but greater things always come out when we work together with you.

Be mindful that all the other unrealized designs are still available to commission, all you have to take is the first step and contact us by writing to info@klavecentesca.com 

Happy New Year to All! 

May Christ's Light Shine on All.

 

 

Pontifical Gloves

Pontifical Gauntlets are one of those things we do not see too many of these days... so we are always happy when we have the opportunity to make some.  These pairs are on their way to Hungary.  We couldn't wait any longer to share the story though, since it highlights what we enjoy doing best: learning about history and making new things which can relate to the past so traditions survive at least on our watch.

Pontifical Gloves by Klave Centesca With Embroidered Gauntlet Cuff inspired by Hungarian Coronation Chasuble

The purple ones we hinted at before on social media, and here they are:

The design of the cuff, because they were made for the Hungarian Church, we thought it would be nice to find inspiration in some of their beautiful vestments from the past.  Looking through the various collections, we found this:

Chasuble used at the Coronations of Hungarian Kings 

It is a gold chasuble embroidered with tiny seed pearls using the traditional Hungarian tulips motif.  It even has amethysts and other jewels running down the centre - making it quite literally, a "planeta pretiosa" or precious chasuble which begs the question: where is the matching precious mitre?!

The said chasuble is unlikely to be worn with the pontifical gauntlets we have made at Klave Centesca, but if we had to find inspiration, where best?  Instead of pearl embroidery, we have used the raised goldwork which is more traditional for these liturgical gloves worn at pontifical masses, and we are quite happy with the effect of them.  But with custom work... the possibilities are quite endless.

Here's a couple of different projects from the past:

Pontifical Gauntlets with English Roses, French Fleurs and Canadian Maple Leaves 

Pontifical Gloves with a Jesuit Sun.

And a guide to some of the styles:

Does your bishop have pontifical gloves?

ECCE, AGNUS DEI

Well, technically this is a ram, not a lamb.  It is a Renaissance jewel, part of The Waddesdon Bequest to the British Museum.  And it was the inspiration for our own version of the Agnus Dei.

Well, there was also this llama with white balloons - as conceptualized & photographed by Gray Malin... but let's not steer too off topic.

Our Lamb-of-God was made for a dear friend, an Episcopal Deaconess, with whom the design holds special meaning.  As you may notice, it has an Episcopal flag in tow - which technically is a version of the familiar white flag with a red cross often depicted - yet with particular significance to the person who is meant to wear it in the good service of proclaiming the Gospel - Mother Liza.

The Lamb stands atop a heavenly-blue book, from which hang gold braids with seven red seals.  (There will be another post about this matter soon which will surely be of interest,)

But speaking of Rams and Lambs... it may do us good to point out another depiction - where both elements collide: the emblem of the city of Visby in Gotaland:

Over 800 years ago this was chosen as the symbol of the city.  But why a ram instead of a lamb? This is best explained by the fact that the capital of Gotaland was best known for its wool trade - and wool is sheared from the ram, not the short haired baby lambs.  Also, in Gutnish and Gothic (their original language) the same word is used for both a lamb and a ram.  Nonetheless, for the people of Visby, it is an everlasting symbol of their own Christianity, and it reminds them of the roots of their capital.

Such customization of a "generic" emblem - "agnus dei" used as a noun or heraldic composite - serves to distinguish a particular entity or person's shield or achievement from that of others.  Indeed many have an "agnus dei" in or for their signet - yet if it has the horns of a ram, we know it must be be about Visby!  Equally, if it carries the cross of Toulouse (the one with twelve balls, 3 on each arm) it must be the ancient capital of the Gothic Kingdom that is referenced:

 

Every bit has meaning.  So does, for example, the red background of the dalmatic we've made.  This vestment is meant to be worn on the Memories, Feasts and Solemnities of Martyrs.  The red symbolizes the blood they may have shed in sacrifice for their faith.  The first Christian Martyr, of course, being Christ himself.  Here's to a world where no new martyrs are created then -   of ANY faith.

And that's a post with quadrupeds for you! As promised.

PELICAN IN PIETY

The Pelican-In-Piety refers to a very ancient symbol for Christ.  The Pelican is known for the ultimate sacrifice to save its chicks.  It prick its sides to feed them the blood that will sustain their life.  Christ gave his blood for us, and at communion, the wine drunk is in remembrance of that sacrifice.
So the Pelican isn't just a bird - and what better way to make a child or adult understand the sacrificial nature of Christianity, than with a conversation begun about the bird on your vestment?

PEARLS OF WISDOM

Lots of people think we use pearls on some of our embroideries for the "Liberace" effect... but pearls have, since ancient times, been associated with Wisdom - and our omniscient God IS wisdom itself.  Hence, whenever someone is atracted to ask about the pearls on our vestments, it's a perfect chance to speak about THE LOGOS - His HAGIA SOPHIA - or in other words, Our God, in whose service, and for whose Glory and Honour, these vestments are made.

DOVE WINGS

When making a new vestment set for this past Pentecost, we were asked to embroider a dove.   Here again, we went around and looked for inspiration at samples from the past.  Who could forget Bernini's Window at Saint Peter's Basilica in the Vatican, above?

We also thought to be adventurous, and try out an idea.  How about making it as though it was issuing forth - flying out of the dalmatic's chest as The Word of The Gospel pours out during the readings of the Mass by the deaconal minister?

So we gave it a go.  It is called stump-work embroidery - and it refers to the stuffed, three-dimensional pieces of needlework which only a handful of artists and artisans still produce today.

The most famous piece, perhaps, still being the Lord Chancellor's Purse used for the State Opening Of Parliament in the United Kingdom.

So that is how our Dove got its wings.  May the Holy Spirit pour forth through it, and fill with blessings those who hear the Gospels.