Friday, October 11, 2019

Photo- and Videopost Catch-Up, October 2019

We are always happy to receive photos and videos of your liturgies, even when we haven’t specifically asked for them for a major feast. Here are a few items that have been sent in recently, and one (my apologies!) not so recently. I also include here a nice little documentary on the Usus Antiquior, featuring Cardinal Burke.


Chapel of Our Lady of Fatima - Trnava, Slovkia
In the city of Trnava, the traditional rite was introduced on the feast of Assumption of Our Lady, with a Solemn Mass celebrated in the presence of Archbishop Ján Orosch, and his vicar, Canon Róbert Kiss, by the private secretary and master of ceremonies of archdiocese Fr. Ľubomír Urbančok. More then 200 people partecipated; the regular celebration of the TLM is held every Sunday and holy day of obligation in this chapel within the archiepiscopal residence.

Saturday, August 10, 2019

Photopost Catch-up: August 2019

We are always glad to receive photos of your liturgies, even when we haven’t specifically asked for them for a major feast. Here are three sets from various events: Masses of Our Lady of Mt Carmel, a green Sunday celebrated in a Pugin church, and St John-Marie Vianney. We also have a few amices from our friends Fr Jeffery Keyes and the Marian Sisters of Santa Rosa.

São João Del Rei – Minas Gerais, Brazil
Solemn Mass of Our Lady of Carmel, celebrated by His Excellency José Eudes, bishop of São João Del Rei.

Tuesday, September 04, 2018

The Artists Are Still Working in the Sacristy

It’s been a while since we caught up with our friends Fr Jeffrey Keyes and the Marian Sisters of Santa Rosa, with their always-popular amice tie designs. There doesn’t seem to be any danger of them running out of ideas; this is eighth such post in about 20 months. As we wrote in the first one, “the essence of the Liturgy is Sacred, Universal and Beautiful, and every beautiful thing, however small (and in this case, temporary) contributes to an atmosphere of prayer and reverence.” Thanks once again to Father Keyes for sending these in. Normally, I put these in chronological order, but there are two especially clever ones that deserve to go first.

August 6 - The Transfiguration. “And as (Peter) was yet speaking, behold a bright cloud overshadowed them. And lo, a voice out of the cloud, saying: This is my beloved Son, in whom I am well pleased: hear ye him.” (Matthew 17, 5)
August 18th - St Helena finding the True Cross (here done with the chasuble ties.)
May 21 - Mary, Mother of the Church
May 23 - Ember Wednesday of Pentecost
May 25 - One of the sisters renewed her vows.

Friday, May 04, 2018

Easter Greetings from the Artists in the Sacristy

Time once again to catch up with some more of the ever-popular amice tie designs made by our friends of the Marian Sisters of Santa Rosa. As always, our thanks to their chaplain, Fr Jeffrey Keyes, for sharing these with us.

February 1st - St Ignatius of Antioch, in reference to his words “I am the wheat of God, and let me be ground by the teeth of the wild beasts, that I may be found the pure bread of Christ.”
Lent begins with a Cross
Feb. 22 - St Peter’s Chair; the Church built on the Rock of Peter 
February 24 - St Matthias. It was inevitable that they would move on to the chasuble ties.
March 19 - A lily for St Joseph

Wednesday, February 21, 2018

EF Solemn Mass for the Second Sunday of Lent in Santa Rosa, California

Our friend Fr Jeffrey Keyes has written in to let us know about the following. “I have been at the Cathedral of St Eugene for two years. In that time, I have celebrated an EF Missa Cantata each Sunday. With encouragement, affirmation, invitation, training and practice, we have taken men accustomed to the Ordinary Form, installed acolytes and permanent deacons, and readied them for the celebration of a Solemn High Mass. Since just before Christmas, we have done this about seven times; we hope soon to be able to do this every Sunday. It is my hope that many in Northern California may come to appreciate the beauty and sacredness of this wonderful Liturgy.”

The cathedral is located at 2323 Montgomery Drive in Santa Rosa.

Tuesday, February 13, 2018

A Young Nun Tells Us How Wearing the Habit Helps Her to Live Out Her Vocation

The following is an essay written by one of the sisters of a community in Santa Rosa, California, called the Marian Sisters of Santa Rosa. She is a seamstress for the community, and part of her work is making their habits. I asked her to describe why she felt this work was important, before going on to describe (in the next essay) how this informs her work in making the habits for the other Sisters. (This was for her degree studies at Pontifex University.)

The essay is entitled A Visible Witness; what struck me about it particularly were her anecdotes of personal reactions to the habit. She writes that it was seeing nuns wearing habits when she was a little girl that spoke to her of this “alternative” lifestyle, if I can use that phrase! I found her accounts of the positive responses of ordinary people to her when they see the habit especially charming. For ease of reading, I have removed the footnotes and references from the original essay. The photograph below is taken from the community’s website.


She writes:

Early in the Church, those who dedicated their lives to God wore some form of identifiable clothing that distinguished them from the world. The purpose was to visibly set them apart from the world for God’s service. Through the centuries this type of clothing, namely the religious habit, has taken many shapes and forms in the diverse communities that God has called into being. During the past sixty years, the value, relevance, and need of the habit has been disputed. However, many young people with vocations to religious life are being drawn to communities that do wear the habit. It is my opinion that in our world today, this visible witness of the religious habit is still needed to silently but eloquently proclaim the reality, presence, and primacy of God.

One of the first references of any sort of garb for those who gave their lives to God is in the writings of St Pachomius, who founded the cenobitic way of life in the fourth century. In his Rule, he requires all those who pass the initial tests for entrance into the monastery to be stripped of their secular clothing and be clothed in the monastic habit. St Benedict and St John Cassian also prescribe the clothing in the habit in their Rules. St Augustine also refers to a plain and simple habit for both men and women religious. This new and different clothing was a symbol of renunciation of the world, and the simplicity and poverty of religious life. No monk was to have anything different than another so that there could be no cause for contention over material things. For women, the veil was also given as a special sign of consecration to Christ, their Divine Bridegroom. Since the time of St. Ambrose, there has been a special ceremony of conferring a veil on a virgin. The veil is also a public symbol of the nuptial union of Christ and His Church.

The religious habit was valued as the strong visible witness of a life given to God, and so continued as part of religious life. Religious habits remained simple, often in black, to signify the death to the world and to self that the religious life entails. Various parts of the habit, such as the scapular, were added as time went on, but the essentials of the tunic, belt, and veil, for women, remained consistent. St Benedict in his Rule refers to the scapular as being a garment worn for work. The scapular is a garment made of two long pieces of fabric, roughly the width of the person and the length of their height, joined together at the shoulders so that one piece falls in front and one in the back of the person. It was originally used as an apron, protecting the tunic while working. St Simon Stock and St Dominic were both given the scapular directly from Our Lady to become a regular part of the habit of their respective orders. At the end of the twelfth century, St Dominic saw a vision in which Mary held a scapular which was to be part of the Dominican habit. Around the same time, St Simon Stock received the Brown Scapular as a pledge of salvation for all who wear it and it has become a sign of Her protection of the soul. The scapular, as well as each part of the religious habit, took on a special meaning as the privilege of wearing the habit was better understood.

As different orders started in response to God’s call, each one assumed a distinctive habit that would distinguish the different orders from one another. Benedictines were known by their black habits, Dominicans wore white tunics and scapulars symbolizing purity, and Franciscans were recognized by their brown or gray robes for poverty. For women, the black veil was often a sign of profession, succeeding the white veil of a novice, usually worn over a white wimple which covered the head and neck of the sister. As more orders of sisters were founded, many interesting and distinctive forms of the habit, especially the veil, came into use. The front of the veil could be rounded or square, fit closely over the face, or widely fall over the shoulders. There were veils that had frills around the face, a box-like shape, or even a starched bow under the chin. Different colors were sometimes used, such as blue in honor of Our Lady. While retaining the essence of a garb set apart for God, each different community could be known by the sister’s particular habit.

In the 1950s, it was recognized that some of the parts of the religious habit, especially for women, had become overly complicated or impractical. Some communities used many yards of material in the tunic alone. The amount of material made it hard to wash frequently and expensive to make. Another example is the veils which came so far around the face that it eliminated the sisters’ peripheral vision. For sisters learning to drive a car, this would be dangerous. Pope Pius XII in 1951 commented on the need for a modification of the habit to suit the present needs.

Shortly after the Second Vatican Council, the topic of modifying the habit again was addressed and communities, in obedience to the Church, considered revising this aspect of their religious life. With all the other social issues going on in America, such as the radical feminist movement and concern for social justice, it seems that many American sisters interpreted the call for modification as permission to cease wearing the habit altogether. From my perspective, they thought in goodwill that for the sake of “equality” and “the liberation of women”, sisters now were not forced to wear such restrictive clothes that were remnants from unenlightened and past times. In some communities, this erroneous interpretation was held by sisters in authoritative positions, and so entire communities were deprived of the habit. This was not the case for all communities. Many did follow what the Church truly desired in simply modifying their habit in such a way that it retained its character as a clear, visible witness of Christ. In addition to these faithful communities, many new communities who wear the habit were started in America. The growing communities of sisters are those who do wear the habit because young women who hear the call to religious life recognize the need for it more than ever in our world today.

In the past 60 years, the Church has given much instruction on religious life, including the topic of the religious habit and its value. In the Code of Canon Law, it states that “Religious are to wear the habit of the institute, made according to the norm of proper law, as a sign of their consecration and as a witness of poverty” (669, §1). Pope St John Paul II explains the reason for this in his apostolic exhortation Vita Consecrata.

“The Church must always seek to make her presence visible in everyday life, especially in contemporary culture, which is often very secularized and yet sensitive to the language of signs. In this regard, the Church has a right to expect a significant contribution from consecrated persons, called as they are in every situation to bear clear witness that they belong to Christ.

Since the habit is a sign of consecration, poverty, and membership in a particular Religious family, I join the Fathers of the Synod in strongly recommending to men and women religious that they wear their proper habit, suitably adapted to the conditions of time and place” (25).

Other Church documents, including the Decree Perfectae Caritatis, reference the necessity of the habit and how it should be modified according to current needs. The Church recognizes and articulates that the habit is important. It provides the visible witness that Christ is first in our lives and that a religious strives to live completely in that reality. Wearing the habit exclusively declares that the religious do not worry about material things, and relies on God for all temporal needs. The simplicity and poverty of the religious life is manifested by having only one thing to wear, for everyday work as well as the most formal occasions. Even if a community’s habit needs to be modified for practical reasons or for the particular apostolate, it is still to be a clear sign of consecration to all, including the religious herself. The habit bears witness both to the reality of God, and that we are to be living and working solely for Him.

The habit is very connected to my vocation to the religious life. In the diocese of Santa Rosa where I grew up, there were a few sisters from three different communities ministering in the schools and the hospital. However, if I had not been told, I would not have known they were sisters because they did not wear a recognizable garb other than professional-looking clothes, a lapel pin, or cross necklace. Besides the saints who were religious, the other community of sisters I was most familiar with was the Poor Clares of Perpetual Adoration on EWTN. Wearing the full habit, they were an unmistakable witness of religious life. At age six or seven, I thought I was going to be a nun, which in my mind meant going to Alabama to that community. My sister and I would play that we were nuns and always wore fabric on our heads for a veil since we knew that was part of being a nun. Even at that young age, I had an intuitive sense that being a sister involved wearing a habit. The thought never even crossed my mind to be like the sisters in my diocese, since I just thought they were a different kind of sister and not the kind that I would want to join. After high school, when I was seriously discerning the religious life, the habit was a necessary component of any community I considered. If God was calling me to be a sister, I desired to look like one. The Marian Sisters of Santa Rosa, who had just come to the diocese, wore a beautiful habit of white and blue. There was no question of who they were since their clothes proclaimed that they belonged to God.


Since receiving the habit of the Marian Sisters of Santa Rosa, I am so grateful each morning to dress in this habit. The habit provides a freedom that to the world seems like a restriction. I am free from the worry of what to wear if it will be appropriate for the occasion, if the color suits me, or if it is modest enough. It takes much less time to get ready for the day when putting on the habit since there is no deliberation involved. When wearing secular clothes, one outfit is tried on, and then removed to try another, until, after much time and effort, a set of clothes is decided upon. Now, my time is used to beautify my soul for the reception of my Spouse in Holy Communion later that day. To the world, only having one choice might be seen as a lack of creative freedom to express my personality by what I wear. In my experience, never having other options of what to wear frees me from thinking so much about myself to think about the more important things in life. While donning the holy habit, I am praying, asking God for the strength for what I am to face that day, and clothing myself in His grace. Creativity is not suppressed but redirected away from myself to invent new ways of giving glory to God and showing love to Him and those around me. My personality, instead of being stifled by the habit, is revealed even more clearly through my actions and words because my clothes are not a distraction. Wearing the habit, I am free and even expected to pray in public, and to say “God bless you” to everyone because I am what I look like: totally dedicated to God.

When any of the sisters walk or go anywhere, we receive attention because of the habit. Some people spontaneously ask for prayers, intuitively trusting in our intercessory power with God. Others will relate stories of being educated by nuns, or share fond memories of an aunt who was a nun. Many comment on the beauty of the habit, happily surprised to see it after thinking it was a thing of the past. These are some of the responses we receive from those who come up to talk to us, but many more see us and are affected by the presence of God apparent in us, even from a distance. To travel to my apostolate, I walk for ten minutes along one of the busiest streets in the city. Hundreds of cars pass me each morning as I pray my Rosary. One day recently, I received the comment, “I saw you on the street corner, and thought how beautiful your outfit, or whatever you wear, is!”. It is not uncommon for a generous soul to anonymously pay for our meal, or grocery purchase, not because they have talked to us, but because they know who we are by the habit. Though we might never interact with those who see us, we pray that we are a channel of grace to bring them closer to God.

The habit, while being a sign of God’s Presence in the world, is also a reminder to the religious herself of who she is. In my experience, the habit aids recollection and prayer in times of formal prayer, as well as when going about my duties. The sides of our veil, coming over our shoulders, act as slight blinders to our peripheral vision, directing our focus straight ahead to God. Our habit is long, obliging us to move with care and Mary-like grace. When I am struggling, or need assistance with anything, I find my hand reaching up to clasp Our Lady on my Miraculous Medal. As a professed sister, I wear a ring, reminding me that I am Christ’s Bride before any role or duty I have in the apostolate. I know, whenever I am acting, that I act not as an individual, but as a representative of Christ, His Church, and our community. The respect or attention I receive from others is not for me as an individual, but on account of the habit, it is for Christ, whose bride I am and whom I reflect to the world.

The religious habit is the beautiful sign of consecration to God since the early Church. All who see it are reminded that there is a higher purpose in this life than the concerns of this world, that there is some reason, namely the love of God, that religious would dress in this way. The habit declares without words that this person has a strong relationship and intercessory power with God. The value of the witness of the habit is proved by its resurgence in the Church and will continue to be a clear manifestation of God to the world.

Thursday, February 01, 2018

Burying the Alleluia 2018

Many of our readers will have heard of the various customs related to the removal of the Alleluia from the liturgy on Septuagesima Sunday. In the Roman liturgical books, this is done in the simplest possible fashion; at the end of Vespers of the previous Saturday, “Alleluia” is added twice to the end of “Benedicamus Domino” and “Deo gratias”, which are sung in the Paschal tone. The word is then dropped from the liturgy completely until the Easter vigil. In some medieval uses, however, “Alleluia” was added to the end of every antiphon of this Vespers, and a number of other customs, some formally included in the liturgy and others not, grew up around it as well.

One of the most popular was to write the word on a board or piece of parchment, and then after Vespers bury it in the churchyard, so that it could be dug up again on Easter Sunday. Our friends from the Fraternity of St Joseph the Guardian in La-Londe-les-Maures, France, observe this every year, wearing the black cope otherwise used only at funerals.





Fr Jeffrey Keyes sent us these photos of this ceremony done by the Marian Sisters of Santa Rosa (they of the famous amice-tie designs) at the Regina Pacis Convent in Santa Rosa, California, where he serves as chaplain. This year, they even made a little coffin for the Alleluia!

Thursday, January 25, 2018

Happy New Year from the Artists in the Sacristy

Before we get too much further into the new year, we should catch up with some things from the old year, some more of the ever-popular amice tie designs made by our friends of the Marian Sisters of Santa Rosa. As always, our thanks to their chaplain, Fr Jeffrey Keyes, for sharing these with us.

Mother and child, for January 22nd, the anniversary of Roe v. Wade
A particularly clever one for the Third Sunday after Epiphany in the EF, in reference to the words of the Collect, “stretch forth the right hand of Thy majesty to protect us.”
Arrows for St Sebastian
Baby Jesus in the manger on Christmas
December 23rd, the O antiphon Clavis David, which makes for a nice little pun on Fr Keyes’ name.
St Andrew’s Cross

Wednesday, October 25, 2017

Liturgical Linens: Making Purificators, and Completed Projects

Following on from yesterday’s post about the creation of altar linens, written by one of the Marian Sisters of Santa Rosa, here are photographs which show some of the details of her work. I must admit that I have barely given a second thought to altar lines, and had no idea of care and attention that is given to them. The comments are hers.

Hemming a Purificator:

Tuesday, October 24, 2017

The Art of Making Altar Linens - As Described By A Marian Sister of Santa Rosa

And taking him down, he wrapped him in fine linen, and laid him in a sepulchre that was hewed in stone, wherein never yet any man had been laid. (Luke 23:53)
Let us be glad and rejoice, and give glory to him; for the marriage of the Lamb is come, and his wife hath prepared herself. And it is granted to her that she should clothe herself with fine linen, glittering and white. For the fine linen are the justifications of saints. And he said to me: Write: Blessed are they that are called to the marriage supper of the Lamb. And he saith to me: These words of God are true. (Rev. 19:7-9)

The following is a description by a Marian Sister of Santa Rosa of the art of creating and preparing linens for the altar. I asked her to this as an essay for a class she is taking with us at Pontifex.University, and I was so taken with what she presented to me, I thought you would enjoy reading this too. One point that struck me particularly, was the importance to her of the symbolism of using linen; there might be other fabrics with properties that create the same aesthetic, but the use of linen connects the altar with Scripture in a special way. It is a long essay, but I hope you will feel it is worth reading; tomorrow I will post more pictures of her work.

Linen: The Liturgical Fabric

In the Sacred Liturgy, we worship God with our whole beings, our bodies as well as our souls. Each physical element of the Holy Sacrifice of the Mass has a role in drawing us closer to God. This involves many things that affect our senses, including the choice of fabrics to be used in the Liturgy. Since the beginning of the Church, the linen fabric has had a special place in the worship of God. In my experience of making the Altar cloths and other cloths needed for Mass, I have come to appreciate the particular role of linen in serving the Liturgy.

Linen is a natural fabric made from the flax plant. Through a long process, parts of the flax stems are separated from the roots, seeds, and woody outer stems. The result is long strands of “flax strick” which are spun into linen thread, then woven into fabric.(Footnote 1) Depending on the thickness of the thread and the tightness of the weaving, linen material can be of higher or lower quality. New linen may be stiff at first, but over time and with wear it becomes a beautiful soft fabric that is useful for many purposes.

In the Old Testament, linen was used as one of the fabrics approved for use in the Temple. The priests’ holy garments were to be made from fine linen and not from wool or other material.(Footnote 2) After Christ, the tradition of using linen in the worship of God was continued, but with a new significance. All four Gospels record that Our Lord was wrapped in a linen cloth for burial. (Footnote 3) Since the essence of the Holy Sacrifice of the Mass is the re-presentation of the Sacrifice of Christ on Calvary (Footnote 4), it is significant that the only fabric which is associated with Jesus’ death is linen. In addition, linen is mentioned in Revelation as the “righteous deeds of the saints” which clothes the Bride of the Lamb, the Church. (Footnote 5) Throughout the history of the Church, writers have referenced these facts as the reasons for linen’s use in the Liturgy. (Footnote 6).

Until the promulgation of the Novus Ordo Mass by Pope Paul VI and the new General Instruction for the Roman Missal, linen or hemp were the only two fabrics allowed for the Altar Linens, the Corporal, the Pall, and the Purificator.(Footnote 7) If the Corporal or Pall were not made of linen, or the Altar was not covered with three linens, it could be matter for sin for the priest who celebrated the Mass.(Footnote 8) Other fabrics such as silk were approved for vestments and other liturgical items. In the current General Instruction for the Roman Missal (1969), the type of fabric for the one required white cloth covering the Altar is not specified (para. 304), nor the type of fabric for the Corporal, Pall, or Purificator. The only mention of types of appropriate fabrics is in reference to the sacred vestments, which requires that the materials, either natural or artificial, be in keeping with the dignity of the sacred action and sacred person.(Footnote 9)

The invention and common use of artificial fabrics is relatively new in the history of the world, and materials such as rayon and polyester are very accessible and can be made into exquisitely beautiful fabrics. Even though Holy Mother Church has allowed for the use of other fabrics, the significance of linen as related to Christ’s Passion and its Scriptural basis should not be overlooked when choosing material to use for the Sacred Liturgy.

Besides being the primary fabric in the history of the Church to clothe the Altar and come into contact with Our Lord and the Sacred Vessels, linen is practically a superior choice. In my fifteen years of experience in working with fabric and the few years I have served in the sacristy, I have seen everything from polyester to rayon to cotton as an alternative to linen. There are some advantages to an “easy-care” fabric such as polyester. It does not wrinkle as badly as linen, it can be dried in the dryer instead of by ironing, and it is durable. For an Altar cloth, it can seem like a good choice. However, it is not a natural fiber and melts, becoming plastic easily. If it is left in the dryer too long or too hot, it becomes permanently wrinkled. Wax stains do not ever fully come out, and it cannot be bleached or it will turn yellow. Rayon is similar in its advantages and detriments, but it is not as durable as polyester. Both of these fabrics are not useful for the smaller linens, such as Purificators and Lavabo towels because they do not absorb moisture well.

Cotton also seems like an advantageous choice because it is more readily available. It is a natural fabric and absorbs moisture better than polyester and rayon, although not as well as linen. Stains do come out of it and bleach can be sparingly used on cotton. To make it as unwrinkled as possible, it can be partially dried and then ironed, but it will never have the crisp, precise, and smooth effect that well cared-for linen can achieve. In working with all of these fabrics, it became clear to me that God chose linen as the liturgical fabric for a reason. Wax and other stains come out more easily, it meets the needs of absorbing moisture efficiently, and is durable when cared for correctly. Linen takes a little bit more work to launder and iron, and needs ironing more often, but when finished, is more beautiful and satisfying than any other commonly used fabric.

I started to work with linen a couple of years before I entered the convent when a priest asked me to make him a few amices. Since this was the first time I had worked with linen, I had difficulty finding suitable fabric. The linen I bought was a large weave, and not of the highest quality, but adequate for my project. I learned that linen moves quite a bit as it is being measured, cut, and sewn, and even if it looks straight when it is cut, it may not be after it is hemmed. However, the weave is a very nice grid for embroidering a straight cross. I was thankful to start with amices, because they do not need to be as precise as other linens.

After I entered the convent, one of the first tasks I was given as seamstress was to make an Altar cloth for the new convent Altar. I had not received additional education on the construction of linens, but I realized that linen can be cut along one thread of the weave to make the edges straight. Since I did not know how to do this most efficiently, it took me many hours just to cut out the very long linen. Then, I painstakingly pinned a one-inch hem with a half-inch turn-under, again following the weave of the fabric. On the sides, I made the hem three inches deep with a half-inch turn under. I then machine stitched the entire hem. Since I had not learned the technique for mitering corners, I hand stitched the corners to make what looks like a normal mitered corner. The result of this process was a fairly accurate and even hem. The two long sides, called falls, were supposed to reach to just above the ground, and I measured accordingly. However, I did not realize how much linen can stretch and move depending on anything from the weather to how it is ironed. The finished linen drapes on the floor about a half-inch on each side, which makes it hard to keep clean, but it fulfills its purpose to clothe the Altar.

After I constructed this first large linen, the convent acquired a wonderful resource in a book called Sewing Church Linens. Elizabeth Morgan, its author, was very helpful in sending us her instructions and pictures of how to work with linen. From her, I learned to cut linens along the drawn thread, but in a much faster way than I had done it before. She also encouraged us to buy her “Golden Ruler”, which is an invaluable tool for marking hems in linen. It is a straight piece of clear plexiglass with a few lines drawn along its length for the different hem widths. Once the fabric is cut and ready for hemming, the edge of the Golden Ruler is laid over the fabric at the correct hem marking, and then the linen is creased along the ruler with a dull blade that does not harm the fibers, such as a butter knife. That crease in the fabric makes it very easy to fold the hem and pin it accurately. This method only works well on linen, because not many fabrics can hold a crease like linen does. The same property of linen that makes it wrinkle so easily, is one of its greatest assets when a straight hem needs to be folded and sewn. Morgan’s instructions and pictures also showed me how to hem linens by hand so that the stitches are invisible on the right side of the fabric, to hem corners on small linens in an unbulky way, and to correctly miter corners on larger linens.

Using these newly learned techniques, I made Purificators for our convent Chapel as well as for St. Eugene, the Cathedral of the Diocese of Santa Rosa. I was able to take the time to hem the convent Purificators by hand, and became proficient in sewing the invisible hems and small corners. For the larger number of Cathedral Purificators, I neatly machine stitched the hem. On both sets of linens, I hand embroidered a simple red cross, counting threads and using the weave of the fabric to make sure the cross was straight and even.

After this, I received permission to make a set of linens as a gift from our community for the ordination of a priest of our diocese. One aspect of our charism as Marian Sisters is to support our priests, especially in beautifying the celebration of the Sacred Liturgy, so this project was perfectly in concord with our life. From working in the sacristy and studying various linens, I noticed a beautiful way of stitching the hem to form a pattern in the threads along the edge. With little trial and error, I figured out a way of achieving this design on my linens. Once the hem is creased, the thread in the fabric that is directly above and parallel to the edge of the hem is pulled out. A few more threads above that one are pulled out of the fabric as well. (The number of pulled threads depends on the size of the linen and the size of the desired pattern.) This results in a very narrow strip of fabric that has nothing but perpendicular threads in relation to the hem. Then, the sides which do not have pulled threads are hemmed as usual, omitting the corners. The other hems with the pattern are finished by securing the hem and making the pattern at the same time. To do this, first, with the wrong side of the fabric facing up, one small stitch is taken in the topmost edge of the hem. The needle then separates a specific number of the perpendicular threads in the fabric, securely wraps around them twice, and returns to the hem. A very small stitch of the same number of threads as taken in the fabric is taken in the hem, and then the perpendicular threads are counted and wrapped again. This process continues until the end of the hem. The result is a border of bound fabric threads along the hem. If desired, this can become a double or triple row design by sewing a second time over the pattern, binding half of one set of bound threads with the half of the adjacent set of bound threads at a point above the initial pattern (see figures 1 and 2).


This same technique can be used to form patterns not immediately along the hem as well. For the set of linens for the newly ordained priest, I made a single pattern around the entire Corporal, a double pattern along the two short ends of the Purificator, and a double pattern plus an extra double pattern about a half-inch above it on the two short ends of the Lavabo towel.

Once I finished the hems, I embroidered the red crosses in the correct place. For a Purificator, the cross is centered on the fabric so that when it is folded, the cross appears on or just below the top fold in the center of the linen. On a Lavabo towel, the cross is placed in one of the corners. For a Corporal, a simple cross can be positioned near the front edge, but in such a way so that the priest will not have trouble collecting any Particles of the Blessed Sacrament with the Paten.

The cross pattern I designed was symmetrical, with the tips flaring out a few threads wider than the beams, then tapering in to a point at the end. I used a variation of the satin stitch, which enabled the cross to be clear and neat on both sides of the linen. While embroidering the crosses, I discovered that the distance and thickness of the linen threads of the warp is slightly different than those of the weft. As a result, I had to count the threads differently depending on the direction of my embroidery to make sure the finished appearance was uniform both vertically and horizontally. The competed linens were beautiful, simple, and fit for use at the Altar.

A recent project has been to alter the Cathedral’s new High Altar linens. This Altar is one hundred forty-six inches long, and twenty-five inches deep. However, the Tabernacle extends four inches from the gradines into the mensa. Because of this, the Altar linens cannot be strictly rectangular. In the center of the linen on one side, there must be a cut-out for the Tabernacle. We ordered the primary set of linens from a lady named Lynne Smith before the Altar was actually completed, so our measurement for the width of the Altar was incorrect. When we received the beautifully hemmed linens, made exactly to the size we ordered, they were four inches too wide for the mensa at the center, where the Tabernacle is placed.

To fix this, I devised a way of sewing the cut-out in the linen to make it fit the Altar correctly. Even though I could have used a variety of materials and methods of doing this, I wanted to use the linen’s own fabric to bind the edge of the cut-out so that it would shrink and stretch in the same manner during washing, ironing, and general use as the rest of the linen. First, I cut a rectangle from the center of the linen one half-inch smaller in dimension than the finished need. The Tabernacle needs a four inch by twenty-three and one-half inch area, so I cut a rectangle three and one-half by twenty-two and one-half inches. This allowed for one half-inch seam allowance on each side.

Then, I took out the hem in the piece that I had cut, ironed it flat, and cut two “L” shaped pieces to be a facing for the cut-out. Each “L” was six inches in depth, thirteen and three-quarters inches in length, and two inches wide along the entire piece. After sewing the two facing pieces together at the long ends of the “L” to form a “[” shaped piece, I stitched the facing to the linen with the right-sides together. I then turned the facing to the inside, ironed the seam so that it lay flat, and turned under the raw edges of the facing to sew them down on the linen. On the right side of the linen, all that is visible is a line of stitching one inch from the edge of the cut out. The finished product was a linen that fit the Altar and Tabernacle perfectly.
It is truly a privilege and a duty to use the talent God has given me for His greater glory. As Mary made Our Lord’s clothes, now I, too, have the honor of making the beautiful linens which serve Him and even touch His Sacred Body and Blood. The worship of God should use the best and most beautiful elements of His creation to reflect His majesty and beauty and to draw us closer to Him through our senses. In using linen as a primary fabric for the Sacred Liturgy, it is not only continuing the tradition of the Church, but also offering to God one of the finest fabrics for His greater glory.

Footnotes:
Works Cited
  • Catechism of the Catholic Church. With Modifications from the Editio Typica, Doubleday, 1997. 
  • Fuller, Deb. “A Brief History of Linen.” The Thread, Fabric-store.com, April 2, 2015, www.fabrics-store.com/blog/2015/04/02/a-brief-history-of-linen/ . Accessed on September 22, 2017 
  • Missale Romanum 4o. Editio Iuxta Typicam. Benzinger Brothers, Inc., 1962 
  • Morgan, Elizabeth. Sewing Church Linens, 1997. ---. Church Linens and Vestments. www.churchlinens.com
  • Smith, Lynne. Altar Linens by Lynne Smith, 2017. www.altarlinens.com
  • The Catholic Encyclopedia. Volume I, www.books.google.com/books?id=THEqAAAAMAAJ . Accessed on September 22, 2017. 
  • The Catholic Encyclopedia. Volume IV, www.books.google.com/books?id=u08sAAAAIAAJ . Accessed on September 22, 2017. 
  • The Holy Bible. Revised Standard Version, Second Catholic Edition, Ignatius Press, 2006. 
  • The Roman Missal. Amended Third Latin Typical Edition, 2008. Magnificat, 2011.
Part 2, tomorrow, will have a series of photographs of her work.

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