1

Guide
To
Vestment
Design
And
Construction

By Sister Mary John, I.H.M.

copyright Sister Mary John, I.H.M.

 2

History
The chasuble was is a descendent of the Casula Paenula and planeta. Garments worn by the peoples of the Ro-
man empire, and later called casula, which means “little house”. It consisted of a square or circular piece of
cloth in the center of which a hole was made; through this the head was passed. With the arms hanging down,
this rude garment covered the whole figure. It was like a little house (casula). Reminiscent of the seamless
garment of Christ. It fell around the wearer in free and ample folds. It can be seen in depictions of early
Christians on the walls of the catacombs and in other works of art representing high church officials in the ear-
liest ages of the young Christian church. It continued
to be seen in all types of art from statues to stained
glass windows up until the present time.

From its early form which was round, it began to

change and become more pointed, and instead of be-
ing one large piece it was put together using two
pieces of material. When this was done there was, of
course, a seam on the front and back which had to be
hidden. This was then covered by wide pieces of
cloth, orphreys. By the 12th century onwards
these orphreys or bindings were placed so as to repre-
sent a cross. The Y shaped cross was one of the first,
as was the Tau cross. The Latin cross made its ap-
pearance in the 14th century. These crosses became
popular everywhere except in Italy and Spain where
they still continued to use the vertical strip of cloth.

That is not to say that Italy and Spain did not espouse
change. Historical changes have ever influenced
both art and usage. “In every country a revolution in
talent, in taste and in the arts is always accompanied
by a revolution in the manners and feelings of the
people…all that excessive culture which is known as
the Renaissance, and which as we seen was really in
certain ways a decadence, brought with it a general
lack of interest in the Divine Mysteries and in the
vestments necessary for their celebration.” Men
Chasubles from different periods -- 11th Century, 13th were henceforth too much occupied in seeking their
Century, 14th Century, 16th Century, 1928, 1928 own well-being. The revival of interest in things
classical, was also to some extent a revival in things
Pictures from Vestments and Vesture, pagan. The artists, many of them great, interested
themselves in everything, and their imitators, not so
great did likewise. Many things changed, and so did
the chasuble. The changes involved at first narrowing the vesture, cutting it and clipping it. This was done
over time to such an extent that their dimensions were greatly reduced. We see at this development at this pe-
riod of what would later be known as the “Roman” chasuble. The vestment which began as an actual garment
and intended to serve that purpose had become an ornament consisting of two flat surfaces. These surfaces
became as canvas needle artists as true canvas was to oil painters. They embellished them, and as art moved

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from the Renaissance to the Rococo, so did the vestment become more and more elaborately embellished with
cloth of gold, and heavy metallic bullion embroideries.

Such vestments are indeed lovely, and worthy of their place in great museums. Although changed in form
they were still very worthy of the place they held in worship, and were made lovingly to give God the
greatest glory. Still there were those who were against such changes and defended the dignity of the time
honored sacred vestments they had known, deploring the change in the chasuble. Such a one was St.
Charles Borromeo who insisted that the chasuble not be less than 51 inches wide. Under his influence Italy
retained the larger forms until the 16th century, but France, Spain, and Belgium adopted variations of the
narrower vestments. Some of these are referred to as “fiddle backed” because of their fiddle shape and
rigid backs.

Only in England, and so also Ameri-

ca, did remnants of the original loose
chasuble survive. It was practically A. France B Roman C. Spain
identical to the form proscribed by St.
Charles Borromeo in 1572. These
“Roman” vestments are now referred
to as “Gothic” to differentiate between
them and the flat Roman style. Tech-
nically all approved vestments are Ro-
man. So it is better to call the flat D. Belgium E. Brazil F. Semi-Gothic
backed chasuble Latin instead of Ro-
man and the full chasuble Gothic. In
the post-reformation Catholic Church
the order came to use, keep and re-
store the vestments that they pos-
sessed, and so all styles continued to
exist, side by side, quite peacefully. G. Gothic H. Gothic I. French Dalmatic
Each had its adherents, and each its
detractors but both, and all were legit-
imate successors and descendents of
the original casula. Again, it is the
artwork of the various periods that has
shown this to be true.

Around 1863 with an interest in the J. Roman Dalmatic K. Spain Dalmatic L. Gothic Dalmatic
origin of customs in mind, the style
of vestments began to revert back
to the gothic again. An new uproar
arose, much like that made by St.
Charles, as again men tried to defend
the dignity of the sacred vestments
that they had known. By 1925, how- Copes
ever, you could find in general
usage of Italian, French, Spanish and
Gothic vestments.

Pius IX used wider then the 51 inch

chasuble of St. Charles, and Pius X
also used quite wide chasubles. He M. France N. Roman & Spain O.

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frequently presented such chasubles to churches, recommended them.

National Styles
Each nation developed its own style. The Italians had three distinct types of chasubles.
1. A chasuble whose only decoration is stiff metallic galloons.
2. A chasuble with a “column” adorning it which is usually very wide and ornate.
3. A chasuble that rather looks like drapery material, whose whole sur-
face is covered with leaves, fruits, flowers,
and other things reminiscent of ancient Ro-
man art. To this was added often the
“column” other bands.

The Spanish and the Belgians, both were

part of the great Spanish-Holy Roman Em-
pire. In the Table taken from the L’age
D’or de la Chasublerie by Jean-Marc Flo-
rand you can see that there is small differ-
ence between the Belgium (Forme Beige)
and the Spanish (Forme Espagnola). Both
have shoulder seams, but the Belgium is cut
a little deeper around the arms. The Latin
form, has the joining at the chest. Notice
also on these sketches the different kinds of
crosses used. Some have a Latin cross (A, Two Italian style vestments. Note
D, E, F, G). Some have a Tau cross (B). overall flower pattern, style #3.
Some have the St. Andrew Cross (H).
Some have only the column (C). The other drawings depict various forms of the
Gothic, semi-gothic chasubles, Dalmatics (French, Italian, Spanish,
Gothic, and several species of Copes.

As you can see there developed four sorts of chasubles used in the Church:
1. atrophied chasuble still used in France, Spain, Belgium, Ireland, and elsewhere
2. The so-called Latin chasuble, reaching just to the junction of the shoulder and
arm;
3. The medium-sized chasuble which reaches as far as the elbow, and conforms to
the dimension of St. Charles
Italian column style 4. full chasuble reaching as far as the wrist.

All correct vestments are “Roman” even the Gothic, but the name “Roman” has
come to be applied to the narrow chasuble (which I refer to as Latin, which would be more correct) since they
are not “Gothic.” Roman does not mean Italian.

The measurement differences in these national chasubles:

Italian 29 inches by 44
French, Belgium, etc : a 2 to 3 inches narrower, and shorter with some variations
Gothic 46 long by about 56 wide.
The stole for the Gothic chasuble should be longer than the length of the chasuble so that it hangs below it.

copyright Sister Mary John, I.H.M.

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Rules of Design
When designing a vestment, there are several things to take into
consideration in order for it to look and function properly.
Firstly, consider the tastes of the priest who will wear it. Is he
tall, or short? Does he prefer the Latin or the Gothic style? Just
as women have particular tastes in their own dress, so do priests
have particular expectations of the vestment that they wear.

Next, consider the function of this particular vestment. Is it in-

tended to be used for a low or a high Mass? Low Mass vest-
ments are more or less the “everyday” vestment. They are
usually similar, and less expensive than their High Mass coun-
terparts. That is not to say that they are not beautiful, but since
they are worn much more, they will wear out much faster, and
so do not usually have the hours and hours of painstaking hand
stitching, or embellishments that their seldom used special occa-
sion brothers have.

Thirdly consider the place where the vestment will be used. If

the church is very dark, then perhaps lighter and brighter fabrics
should be used. If the church is very large, then the appliqué
work and galloons need to be larger to be seen from a distance,
while in a small chapel this type might be too overwhelming.

After you have examined these facets and have a general idea of
Elaborate embroidery work on a black
what Church or priest commissioning the piece desires, espe-
moire faille fabric.
cially as to color and the amount of money to be expended on the
work, look to the design
itself. This last item, the expense is usually a determining factor
which limits the vestment artist not to what she could do, but what it is
affordable to do. For this reason, I have searched the world via the
Internet for the most beautiful fabrics and trims that I could find that
are reasonably priced. Most vestment makers at some time or other
will have in their possession a catalog from La Lame or Almy. I also
buy from them on occasion, but I can’t afford to buy much or often.
At $30 a yard for orphrey banding I would use up most of my budget,
yet I have found equally lovely orphrey banding, indeed in the same
pattern, from a company in India at less than half the price. My web
site carries such items. Most of the fabric I offer are around $15 a
yard including shipping. Then check the links to other fabric manu-
factures such as Istok in Russia, who imports to the United States
through Canada. There you can get pure silks and silk brocades for
about $20 to $40 a yard.

When deciding on your fabric and the orphrey or galloons that will This gothic vestment has a green or-
decorate it, keep this in mind. If the fabric is very “busy”, that is, it phrey but no galloon border. It
has a very busy pattern (that can be seen as such from a distance, tone- doesn’t need one. It does have a gal-
on- loon edging around the outer edge.
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tone usually can’t) then you don’t
want the orphrey of cross on it to
be “busy” as well.

For example, if you are planning

to use a fabric which is a rich pur-
ple brocade covered with metallic
gold patterns, then don’t use an
orphrey or a cross design that is a
swirl of embellishments. Use a
simple one tone piece such as vel-
vet and put a simple appliqué
upon it. If you want the embel-
lished
cross,
then
use a Multiple
colors are
tone- part of the
on- design in
tone this vest-
fabric ment. The
or a only gal-
This vestment is of velvet with mostly gold metallic loon is
embroidery. Galloon for cross and border. A very
one around the
simple but beautiful design. tone outside
velvet edge. This
or fabric is a
moire so that it will stand out and be seen. white
moire. This
ornate
“A prominent place is given to vestments decorated piece of
with appliqué work, because this is a very economic embroidery
method, and the result is often marked by a distinct- needs a
ness and strength superior to the effects obtained by solid color
back-
embroidery. However, many such pieces of appliqué ground, no
work may be set off by true embroidery.” brocade.

Vestments and Vesture by Dom Roulin, O.S.B. gives examples and some rules for orphrey design. Here is
a breakdown of his rules:
Rules for Orphrey Design
1. You can use bands of ribbons of silk or velvet applied as orphreys. These stand out against the main
material without the least border and make very good vestments. Even though they don’t need it you can use
galloons (trim or cording) to outline the appliqué bands, it gives them a richness and completeness. Well-out-
lined orphreys are usually preferable to orphreys which are not plainly outlined. The lines of orphreys provide a
clear and precise demarcation, and help the faithful to distinguish even from a distance, the form of the sign of
our Redemption.
2. Use galloons when two conditions are fulfilled: the designs are not very varied, and the colors are not
multiplied. “Galloons of pale silk, or gold are the proper border for colored bands (green, red, purple),
when these have the same or practically the same, intensity of color as the principal material of the
vestment. These galloons then connect and at the same time separate somewhat the two tints; they
enhance, that is to say, they make effective, the intensity of the two stuffs thus juxtaposed. If not, the
colors annihilate each other. (e.g. violet velvet on a black chasuble needs a light yellow galloon or gold
braid to join the bands and the stuff as a whole. Similarly pale galloons on white, need
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a dark border.
3. Using two, or at most three colors and
some conventional or natural design re-
peated symmetrically, one may obtain
clearer and stronger effects.

Everything depends upon the design,

character, proportions, and propriety of
the figures and decorative compositions

Other Types of Liturgical

Garments:
Dalmatic. Italian Style
Cloth of gold Tunicle. Dalmatics and Tunicles:
Dalmatics and Tunicles: the Dalmatic simple
Dalmatic originally from but elegant de-
Dalmatia and was introduced sign.
into Roman society during
reign of Diocletian. . The
Tunicle is shorter and plainer
than the Dalmatic. Although
now almost always the same
shape and size, the Dalmatic
of the deacon takes prece-
dence over the Tunicle of the
sub deacon, and both have
Note the construction on this Tunic which
in not the norm. The front is cut in under different functions to fulfil at
the arms (fiddle front) and the back is the altar. Therefore they
squared. The sleeves are open at the bot- should be slightly different.
tom and straight from the shoulder. In the Ceremonial of Bish-
ops it lays down that the
Dalmatic can be shorter and
more richly ornamented than the Tunicle, and the Tunicle might have lon-
ger sleeves. Both garments retain traces of the clavi or stripes which deco-
rated the tunics of the early Christians. The deacons Dalmatic has a two
bands band running horizontally somewhere connecting the two clavi
(orphreys or wide bands), while the Tunicle has only one. This connection
can be at the top, or bottom.

There are several types of construction for these garments. Some were
originally laced up at the shoulders and had cords with tassels there. Some
are made open at the sides, and some closed with pleats or gussets to give
them apple room for genuflection and movement.

Most patterns for dalmatics and tunics have the sleeves cut at right angles
to the vertical of the garment. However, the shoulder line should be
S
slightly sloped. This is not only for aesthetic reasons. If the sleeves are
not cut at this angle then the garment will hang in ugly folds and pull the
orphreys out of vertical. The heavier the garment is, the worse this will be, because if the sleeves are stiff and
at right angles, they will fall awkwardly.

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The sleeves of the Dalmatic and tunic are
often of late made more like flaps that sim-
ply hang over the arms. On some they are
sewed together at the wrist, and others
have some kind of tapes to tie. The best
kind of Dalmatic or tunic, a true one,
would be to have real sleeves, sewn all the
way along. The sleeves may be wide and
should be. Barring this, at least join them
at the wrist and have a secondary tie back
under the arm.

The Cope:
Cope went through changes as well as the
chasuble. The pluviale of the Romans,
(which means “to keep of
the rain”), served as an outer garment. A
Cope front and back hood was sometimes added to the cope in
the Middle Ages, but is shrank to small tri-
angular appendage. Later it grew very
much wider and longer and also began to
be fixed on below an orphrey which put it
much too low.

For the best design don’t let the hood fall

below the waist. Keep cope as lightweight
as possible.

Humeral Veil:

Humeral Veil: don’t let it get stiff with de-

sign. Keep it simple. A Benediction veil
Humeral Veil. Notice how lining sets needs a fastening.
off the piece dramtically.
Complete Solemn High Mass set.
Chasuble, Humeral Veil, Deacon Stole,
Materials for the Vestment Dalmatic & Tunicle (both the same
here), Maniples for Deacon and Sub-
Vestments have been made of many types of fabric, but the most acceptable deacon, Stole, Maniple, Chalice Veil,
Burse, Antependium (altar front) and a
types are velvets, moire, and brocades. Tapestries are also frequently used,
especially for orphreys. There is no rule that says you must use fabric with
ecclesiastical patterns. Plain fabric serves its own purpose.

Velvet – a beautiful fabric to use provided that it is not heavy and drapes well, it is so made as not to crumple
and develop those creases that make it look old and worn. For the purpose of decoration a stiffer velvet can be
used. Velvet comes in several heights of nap. The short nap is often found in older vestments of the Latin va-
riety because it is hard to do embroidery or appliqué work on high napped velvet. High napped velvet has a
lovelier shine and catches the light beautifully. Silk velvet is soft and supple, and drapes well. (Example of a
velvet Latin Chasuble on page 6 and 9)

Damask and Brocade: Brocade is a damask but with metallic threads woven into it. Although for
convenience sake both here, and on my web site, I refer to all patterned fabrics as brocade, with or without
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Latin chasuble of gold metallic appliqué and gold galloon This brocade fabric of gold metallic thread on an ivory background is busy
done on green crushed velvet. Galloon here is to define enough to make good use of only a cross of galloon and a simple appliqué.

metallic threads. Brocades with patterns of flowers, animals,

or of geometric shapes have been used, and
provided that they have dignity and harmony they can indeed
be suitable, but why when there are so many beautiful fabrics
with ecclesiastical patterns.
If a brocade is woven of more than one color, you must re-
member that the ecclesiastical season color must dominate
the whole vestment. In other words, silver and white may be
used together on a white vestment provided that white is the
dominant color. Similarly a green vestment may have red in
it or even its orphreys may be red, provided that the green
dominates the vestment as a whole. Brocade is one of the
preferred fabrics for Gothic type vestments because it falls
softly and drapes nicely. It also is not heavy unless it is
heavily woven with metallic thread. Cloth of Gold, or that
brocade made of yellow damask and heavily woven with
gold metallic thread is best kept for Latin chasubles, or used
to make lovely orphreys because it tends to be very stiff.

Moire faille – is an excellent fabric for vestment use when

you want to use an elaborate amount of decoration. It comes
Damask tone on tone red vestment that doesn’t conflict in many colors and weights so that it can be used equally
with elaborate embroidery work.
well for a stiff Latin chasuble or fall gracefully in a Gothic.
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It is the preferred fabric for Latin chasubles with much appliqué work in the cross on the back or front.
(Example of Moire faille vestments on pages 5 and 6)

Satin – soils easily and wears out quickly, but can be used in appliqués, orphreys, or galloons.

Colors
The Church has set what we refer to as ecclesiastical colors: red, green, black, purple, white, gold, and rose.
The Eastern church and Episcopalian also include blue. The church does not, however, specify the shade of
these colors. The shade of the color must be considered in connection with the place of worship. A dark church
needs light tones of colors, and a light interior of a church can use many of the darker tones.

White: Symbolizing purity is used for the following Masses:

1. White is used in the Offices and Masses during the Easter and Christmas seasons;
2. also on celebrations of the Lord other than of his Passion,
3. of the Blessed Virgin Mary,
4. of the Holy Angels,
5. of Saints who were not Martyrs;
6. on the Solemnities of All Saints (1 November)
7. On the Nativity of Saint John the Baptist (24 June);
8. on the Feasts of Saint John the Evangelist (27 December),
9. of the Chair of Saint Peter (22 February),
10. of the Conversion of Saint Paul (25 January).

Snow white is a brilliant color, ivory white or silver white are less so.
The ivory white is warmer
and the silver is colder. The softer shades will work well in a well lit
church, but opt for the snowy white if
your church is very dark.

Black: Used for Masses of the dead

Most black fabrics are of a common shade, but life can be given to
them by the use of strips of gold, or
embroidery in red, yellow or other colors. The bands on them can
also be gold & purple, red and purple, or
purple and red, with outlines of gold. Some of the black brocades
mixed with red or purple can also be
used for orphreys with gold embroidery or galloon. (Notice how well
the yellow and gold look on the vestment on page 5.)

Greens: Used for Masses of ordinary time, that is masses which are
This rose cope has the “shield” hood of the Ro-
man and Spanish style. I would classify this not particular to the seasons.
cope from the 17th century as rococo, and over-
done. The shield color does contrast nicely with There can be any shade from moss green to forest green, and include
the vestment color, but it is too “busy” to go with Kelly green, emerald green, and olive green.
the equally “busy” fabric. It would look nicer on
a tone on tone rose fabric, or moire. If I wanted
to use the fabric I would opt for the same colors, Reds: Used for the following Masses
but a simpler design. 1. Passion Sunday
2. Good Friday
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3. Pentecost
4. Commemorations of the Lord's passion
5. Commemorations of the martyrdoms of the apostles the evange-
lists and other martyrs

Reds can be scarlet to wine, and any other shades in between.

Purple: Purple signifies penance and is used for the seasons of Ad-
vent and Lent.
Purples can be dark or pale and fall in the spectrum from red purples
to blue purples. Be careful about dark violet in a dark or poorly lit
church. It will appear black.

Rose: Rose may be used, where it is the practice, on Gaudete Sunday

(Third Sunday of Advent) and on Laetare Sunday (Fourth Sunday of
Lent). If rose vestments are not available then purple is used.
You must be careful about rose however. Priests are men, and they
do not like to wear pink. Be sure that the rose color is truly rose, and
not just an off shade, or dark shade of pink. Rose has a small amount
of purple to it, or a grayness which does not allow it to be shocking
This vestment was made by Ecclesia Designs
or abrasive.
(www.ecclesiadesigns.com). You can see
the dramatic effect of using the gold lining to Linings:
enhance and set off the red brocades. 6
The first question is whether you should line the vestment at all.
Most often the low mass, daily use vestments are not lined. But it often happens that even some of the more
expensive vestments are not lined because the maker is trying to keep them light and flowing. A heavy embroi-
dered cope will only be that much heavier with a heavy lining. A flowing Gothic chasuble will not always flow
as nicely if it is heavily lined.

There are benefits to lining. The vestment will last much longer, it will not crease and crumple as much. It
gives the garment a finished appearance. It hides the interior sewing of the galloons, orphrey, and appliqué
work. If you choose to line then consider these rules. Gothic vestments need light thin linings to drape well.
Latin vestments often need medium to heavier linings to support the piece and keep them stiff enough. Con-
sider the vestment fabric as well. If the vestment fabric is extremely thin and light, you may need to use a
heavier lining to support and strengthen it.

When choosing the color of the lining keep in mind the color of the vestment. The lining color must comple-
ment the vestment color. It could be a darker or lighter version of the same shade, but not an entirely different
shade that jars with the main fabric color. Better in this case to use an entirely different color that at least com-
plements the main color, than contradicts it. Contrasts are fine (such as a pale-green lining with a red vestment
or salmon-red with dark-green, or a sulphur or straw yellow with purple. White vestments look best with vivid
linings, such as blood red, copper red, slate blue, ultramarine blue. You can also use pale colors such as rose or
sky blue. (See page 8 for another dramatic lining on a Humeral Veil.

The Beginner Vestment Maker

For your first vestment you should use a simple design and avoid difficult fabrics such as velvet. Likewise
you should avoid any elaborate embroidery work your first time out. A good starting piece would be a

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Gothic vestment using a tone on tone damask or brocade fabric of
good quality. To this apply an ready made orphrey band and an
appliqué that suits the vestment and design. This vestment could
be either lined or unlined, as you choose.

Once you have learned the principles of construction, you might

wish to design your own orphrey for you next vestment, such as
trying a figured brocade, with a strip of contrasting velvet em-
broidered or appliquéd with a simple design, and then sewn down
with the edges covered with galloon.

A simple Latin vestment could also be made by using a moire or

tone on tone fabric and making the cross using a one inch gal-
loon. Then apply an fitting appliqué to the center of the cross
where the two arms cross. This vestment should be lined. (an
example of this would be the rose vestment seen at
www.vestments.homestead.com).

I sell some basic kits to get you started that include a fabric, or-
phrey, and pattern. You need only decide on an appliqué and lin-
Patrick Boylan of Grace Vestments ing (if desired).
(www.gracevestments.com) designed the
above chasuble and it is pictured on his
web site. Both this and the antique below
Experienced Vestment Makers
are maker designed orphreys. The upper
used a complementary brocade with an Experienced Vestment Makers will want to try more elaborate de-
embroidered velvet panel and galloon. signs. They may want to do some involved embroidery or appli-
The lower uses gold moire with galloon qué work, inventing their own orphrey. The important thing here
and an applique. is that they worker be expert in the technique she is employing.

If you are going to make your own orphrey, decide on the width
you will need and the fabric. Lay it out on paper and draw it to
actual size. If it will be embroidered or appliquéd check the place-
ment of the pieces. I make up my pieces on sheets of paper the
actual size that they will appear. I often color them to get an idea
of what colors will go best together and with what fabrics. (see
page 23 for an example).

A question has come up with modern convenience and the new

embroidery sewing machines. Is it permissible or should the em-
broidery work and appliqué be done by hand? By all means do
whatever you are capable of doing with whatever machine fits the
job. There is nothing wrong with doing the embroidery with a
sewing machine capable of doing it, provided that you also are
capable of programming it to do the work properly. Again it
comes down to being expert in the technique you employ. How
do you become expert? Practice. You don’t need to begin by
practicing on an elaborate orphrey. Start with a simple design,
and work up to something harder. Remember it is not how elabo-
rate the work is that makes it beautiful, but its texture, richness of
color, and proportion. More often then not, it is the most simple
designs that are the most beautiful.
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Make your own

Orphrey
This orphrey band is made from
a navy blue satin brocade that
has very small gold fleur d'lys
upon it. A priest commissioned
me to make a Marian vestment
with an appliqué that had the
Blessed Virgin that he used on
his ordination card. This was a
photo of Our Lady of Paris,
which is a statue in Notre Dame
Cathedral. I decided the overall
design would be French. Father
approved the fabric which was a
pure white tone on tone brocade
covered with a regular pattern
of fleur d'lys set in diamond
panes. The panes were about 2
inches by 1 ½ inches. I knew
the small gold fleur d’lys on the
navy would go well with it. Father had also chosen a Gothic style of vestment. I took a yard of the navy bro-
cade and cut it in long strips about 4 inches wide. I used the pattern on the fabric to as a guide to make sure
they were absolutely an even width overall. I needed 4 yards but I prepared six yards in strips. I used stabi-
lizer to reinforce the strips for embroidery and I embroidered the large fleur d’lys on them. You can use an
iron on stabilizer for
this. Cut the stabilizer to the exact width that the finished band will be, and iron it down leaving the seam
allowance without stabilizer. Then I placed the strips on my cut out pieces of white brocade to check their
width and to mark on them where I wanted the appliqués. I wanted the appliqués equidistant, but I did not
want to put any where the bands crossed and where I would put the larger appliqué of Our Lady. I put a
pin in the center of the spot where each Fleur d’lys would go. The small pattern on the bands helped me to
place them all very exactly, but if there had been no pattern I would just make a template, or else measure
exactly from pin to pin.

When I began doing the embroidery on

these bands, I first appliquéd a metallic gold
and beige fabric in the shape of the fleur
d’lys and then I embroidered on top of this
with metallic gold thread covering the edges
and satin stitching shading inside to give it a
3 dimensional effect. The pins helped me to
place each embroidery exactly. I used an
embroidery sewing machine and used the
pin mark as the center point of the hoop.
Hand embroidery would work the same
way.

When all the appliqués where finished, I

turned over the seam allowance on each side

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of the band. The stabilizer helped make the edge crisp and gave it a finished edge. I sewed it down with a
matching thread. The edges could then have been covered with galloon, but I felt that the large appliqué of the
Virgin together with the appliquéd fleur d’lys would be more than enough. Simplicity of design, even though
the work it self was elaborate, it did not appear to be so. Galloon or gold edging on the chasuble would only
have detracted from the other lovely embroideries.

Putting down Galloon, Orphreys and Appliqués

As mentioned in the design section above, use galloon to separate two similar colors, or to make a
demarcation line between the orphrey and the main fabric, or to give the vestment a unity and completeness, but
don’t just use it just because you can. Always consider the whole design and the effect. When you do use it, it
must be applied so that it is firmly attached, and is absolutely straight.

Beware of puckers when sewing down either the orphrey or the galloon. If you are using the galloon to form
the cross on the back of a Latin vestment, the same applies. Make sure it is secure, and straight, without puck-
ers.

How do you do this? There are several methods. Pick the one that is most comfortable for you. If you
enjoy hand sewing, baste everything down. Pinning them in place first is a must, but don’t count on everything
being straight and without puckers if you just pin. Velvet especially shifts because of the nap, but because you
are sewing multiple layers, and the galloon is often thick and slippery, things will slide or shift to one side or
the other, often the tension on your sewing machine will pull them so that when you finish everything is just a
little off. No, everything has to be well secured before you begin to sew with the machine. If you plan to do
everything by hand, then by all means pin and sew, but there is nothing harder on the fingers than hand sewing
heavy metallic galloons.

I have found, (again using modern notions found in fabric shops items not available to previous generations of
vestment makers) a little item called “stitch witchery” and another called “unique stitch”. The first is nothing
more than a roll of fusible web, the same kind used in fabric appliqué, but pre-cut into strips of widths from
1/8 to 1”. I like ½ inch for 5/8 inch seam allowances, and use the ¼ for 3/8 inch seam allowances. I use stitch
witchery for anything I want to basted down. This includes orphreys, galloons, and appliqués. The unique
stitch is a fabric glue, and I use it only for velvet, and will discuss that later in the velvet section.

For example, to apply the cross galloon to the front of a Latin vestment, I would first cut and pin the galloon in
place. When everything is as I wish it, I begin to unpin small sections of it (don’t iron it with the pins in it even
if you are using glass headed pins, it will make puckers where the pin was.) Then I slip a small piece of the
stitch witchery underneath, and press it in place. The heat of the iron melts the webbing, and bonds the galloon
to the fabric.

Warning:

· 1. check that your iron is set on a heat setting that both the galloon and the fabric will tolerate. If it is a
fabric that can’t be ironed use the unique stitch glue to baste them together.
· 2. Don’t let the stitch witchery come out from behind the fabric and stick to your iron. It will be messy,
and put glue on your fabric.
· 3. While the pieces are still hot lift them up from the ironing surface. Sometimes the glue will go
through the fabric and adhere the fabric to the ironing surface as well. Just get in the habit of - press,
wait a second, and lift, move to a new spot, place web, iron, wait, lift, etc.

Wait a moment for the pieces to cool (they must cool somewhat to stick), and check for adhesion. If not
stuck together, reheat. Iron doesn’t have to be very hot, but it can’t be cool either. Even a synthetic setting
will work. Fabrics that can take steam will get a better adhesion if you use it on the lowest setting.
copyright Sister Mary John, I.H.M.
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Once you have the beginning of your galloon or orphrey stuck in place, you can remove more pins and con-
tinue around your cross. Because the piece before it is stuck in place, you can even put a little tension on the
galloon or orphrey to make sure they are smooth and in line.

This product works well with appliqués that are done on felt or some other fabric and then sewn down com-
pletely on the vestment. Just use some of the stitch witchery behind them, and press them in place first.
They will stay very well without shifting at all, while you sew them down with a sewing machine
afterward.

Putting it Together

Cutting
Lay out your pieces on the fabric. If you don’t have it you could go to my web site www.sewvestments.com
and download the Guide to Layout and Cutting. It is free.

Make sure that if there is a pattern in the fabric that it lines up symmetrically. The best way to do this is fold
the fabric in half exactly down on pattern and fold your pattern piece for front (do the same with back after)
in half and place it on the fold. Remember that with patterned fabric you will need to buy extra fabric for this
very reason, to keep the patterns straight and symmetrical. Once you have the front and back placed, place
your stole pieces, maniple, veil, and burse pieces wherever there is room for them. With the veil, it is also
important the pattern is symmetrical, if you have enough fabric try to get the patterns on all the pieces sym-
metrical as well. After you have cut your main fabric, without removing the pattern pieces, cut your lining as
well.

Pressing
Always press all seams as you go. Either press them open, or when called for press them flat. Most of the
time they will be pressed open.

Gothic Chasuble
Each half is made up separately, applying any decoration to the right side. The front of the chasuble may
have a seam line that is covered by an orphrey. This is only when the neck opening is not cut large enough
to go over the head easily and an opening is put in (similar to the opening in the side of a skirt) using a
placket. This opening is then disguised by the orphrey.

Sew this seam up to the beginning of the opening. Apply your orphrey to the front now and any galloon to
the edges. One side of the front orphrey can be sew completely, the other side can only be sew to the
beginning of the opening. You can stay stitch the neck opening within the seam allowance if you wish.

The red lines on the drawing are the seam lines sewing down the orphrey. The Black line is the seam line
connecting the two front halves. It is actually under the orphrey, but I put in on top to show you how to make
the placket. Notice the red line on the right side of the orphrey is sewn top to bottom. The center seam and
the left side orphrey are sewn only to the beginning of the neck opening. The lining on the right side stops at
the center seam line (plus 5/8 seam allowance), but you need it to go all the way to the other side of the or-
phrey (the gray area). Cut a piece of lining fabric the size of this gray area plus 5/8 seam allowance on all
sides. Turn under the seam allowance on three sides, but not on the left long side. and press it. Sew the un-
turned seam allowance to the seam allowance on the lining, right side together. (Similarly if you don’t have
the lining cut out you could just add the piece to the lining and then cut it out, but it works out this way just
copyright Sister Mary John, I.H.M.
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as nicely especially since you never know exactly how wide
your orphrey will be.

Sew the back of the chasuble to the front right sides together at
the shoulder seams. Press all seams open.

Do the lining the say way. Sew the seam up the front to the
opening, press it open. Sew the shoulder seams and press them
open as well. Now with right sides together, put the lining and
the main piece together, matching seams at shoulder and front.
Pin around the bottom edges. Machine baste it. Check it’s
fall and then machine stitch it.

When you have turned it right side out, make sure that you have
it turned all the way to the stitching line and press it to be sure it
stays that way. If you applying a galloon trim around the edge,
you can pin it in place, baste or stitch witch it, and top stitch it
after you have made sure that everything is falling as it should.

The placket you made for the closing should meet the edges of
the orphrey when they are folded in (you already pressed them
in place). Sew the bottom to the lining, and top stitch the long
edge of the opening. Close the top when you close the neck opening.

To close the neck you can either bind it, or press the seam allowance to the inside and put both sides together
and top stitch.

You may wish to make some invisible hand stitches tacking the lining to the shoulder at several places.

Latin Chasuble.

As with the Gothic you will prepare the main fabric, make the pattern symmetrical if there is one, and do
your embellishments and cross or columns on the front and back.

The Latin chasuble usually has some kind of interlining to give it a stiffness. You can use pre-shrunk linen,
or one of the modern pellon type or iron on type of interlining. Don’t use buckram. It should be cut to the exact
size of the finished piece (no seam allowance). You can then attach it by basting at the edges, ironing it down,
or use a temporary spray adhesive like the kind they use for quilting, and spray it and then stick it in place leav-
ing the seam allowance free.

The Spanish, French and Belgium styles that have shoulder seams can be done in a similar manner to the
Gothic, sewing up the shoulder seams and then doing both pieces right sides together, and sewing the outer
edges. Turn inside out (this is a bit tricky but manageable with the interlining) and then similarly bind or
turn and topstitch the neck opening.

The Roman chasuble that goes over the shoulder and connects to the shortened front at the chest is done in
a slightly different manner. You do the back as one piece sewing down the lining and turning it as one piece
and the front as one piece also with lining and turned. Then fold in the seam allowance on the upper front edge
and press it in place. Tuck the two “wings” of the back that connect to it inside this pocket. Pin them in
place and check that everything is as it should be. Make adjustments now. When everything is correct just
sew across the galloon top stitching everything together. Alternatively you could top stitch everything and
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Gothic and Latin Chasubles (Spanish & Roman) -- Solid line back, dotted line front

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then sew the galloon down, but that puts more stitches on the
inside than is necessary.

Where the stitching is on the inside you may also attach the
long tapes the priest uses to tie it in place. Measure the priest
for these tapes when he is in both his cassock and alb, or else
measure the tapes of a vestment that fits him comfortably.

Stole and Maniple

Again decorate, sew the top seam connecting the front to the
back. Sew the cross on the seam line. (In the Machine Embroi-
dery section of the web site there are some downloadable de-
signs you can use if you have a machine embroidery sewing
machine. If not you can do them by hand or buy an appliqué.
Put right sides together with the lining and sew the side seams,
but not the bottoms. Turn right side out. Turn the bottoms in
and press in place. Attach the fringe or tassels by placing the
fringe edge inside this pocket and topstitch over all, closing
everything neatly. Alternatively you could topstitch the fringe
on the outside , but it doesn’t look as well, to my way of think-
ing.

The Maniple needs a loop of elastic hand sewn in (if you did
not sew it into the seam which you could have done) This keeps
it in place and the front needs to be tacked to the back about 8 inches down on one side.

My own method to accomplish both of these items is to make a tube of lining fabric a little wider than the
elastic that I am going to put inside it and about 4 ½ to 5 inches long. I turn in one end of the tube about
3/8 inches. I then cut a piece of elastic about 3 ½ inches to 4 inches long. I put the elastic in the tube and and
sew it across a little in from the end of the turned edge. I do the same thing with the other end. Since the cas-
ing is bigger than the elastic it is gathered up a little over the elastic. I then stitch one end to the center of each
side of the maniple about 8 inches down. This connects the front to the back, but also gives it the elastic that
catches the alb and cassock material and stays in place. It is also easy to on and off. (see photo above)

The chalice veil is again decorated, and then pinned right sides together and sewed around the edges leaving
an opening in the back edge about 4 inches long. Turn it right sides out. Press and finish the opening by hand
or by top stitching all around the edge.

The Burse is a bit complicated. Before you begin you need to cut two pieces of matte board (the type used
for pictures) about 1/8 “ less than the size of the finished burse. Make two tapes by making two tubes of
lining and turning them right side out. These tubes should be about ½ inch wide when finished and 3
inches long (this allows ½ inch seam allowance on both ends. Ribbon can also be used.

Step 1: Put one side of the burse right right side up on a work table. If there is a front to the design that should
be facing away from you. Put the ribbons or tubes of cloth down on the right side of this fabric at the center
sides. Their edges will get sewn into the side seams. Put the lining right side down on top and pin the edges
together and sew around the top and sides, but not the side facing you.

Step 2: Turn right side out and press. Now make a new sandwich. Put the other burse fabric down right side
up. Put the entire other piece of burse and ribbons on top of this, but only the un sewn ends of the ribbons get
put at the side seams. The good fabric should be facing the good fabric and the lining up. The open end should

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be toward you. Pin this sandwich together enclosing everything inside. You should now have the lining with
the ribbons on the sides and the other half of the burse bunched up in the middle and covered by the top fabric
of this side of the burse.

Sew around the edges but not the end near you. The only thing from the other sandwich that should get sewn
is the ribbons in the side seams. Turn everything right side out. You should have two pockets connected by
the ribbons. The ribbons are neatly sewn into the side seams. The top of the burse should be the open ends.
The linings should be facing each other on the inside and the good fabric the outside. If all is correct. Slip the
matte board into the two pockets. Fold lining to the inside but not over the matte board on both sides. Put the
back and front together and hand stitch with an overcast stitch the lining front to the lining back along the
edge. Now fold in the seam allowance on the good fabric to the inside but not too tight and hand stitch the
front to the back. The tapes are folded to the inside of the burse and kept there with the burse closed.

Dalmatic and Tunicle

These garments are very much alike. Sometimes the Dalmatic is made with the front like the Spanish Latin
chasuble while the Tunicle is the squared type. (See photos page 7) Sometimes both are exactly the same, and
sometimes the only difference between them in a second band on the Dalmatic. Most often the sides and un-
dersides of the sleeves of them both are left open. There are usually some ties to keep them in place, yet others
have real sleeves. I will discuss the open style. Origi-
nally the shoulders were not sewn but laced together
with tasseled cords. That is seldom seen these days,
but could still be done if you desire. I don’t suggest
that for the beginning vestment maker.

When not identical the Tunicle may have shorter and

rather less elaborate decoration than the Dalmatic, but
with longer lightly tighter sleeves. (See diagram).

The garments can be cut as one piece, or two side

pieces and a center piece. This is because the two
clavi (orphreys) will cover the seam lines.

The garments are simple to construct. Right sides to-

gether sew left and right sides to center front, and re-
peat with center back. Repeat with lining if any.
Cover seams with orphrey and connecting bands.
Right sides sew shoulder seams.

The neck opening has a gusset that should be sew on

both sides right sides together. Press all seams open.
Put lining right sides together on top of vestment fabric
and sew around all edges except neck. Turn right sides
out and press edges. To keep garment in place, do any
of the following. Sew the two ends of the bottom inch
of the sleeves together, and/or sew tapes under the arm
on both sides. Sew tapes inside like you do with the
roman vestment if you find it necessary.

Close the neck in the usual manner as for the other

vestments. Neck edge can then be covered with galloon if you desire.

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50 - 54 inches
4 - 5 1/2”

18 - 20 “
26 - 27 inches

12 - 14 “

18 - 20”

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Cope:
“In practice, when drafting the pattern for a cope, the center of the semicircle is taken 3 or 4 inches above the
straight edge of the orphrey.”
The orphrey used to be as much as 8 inches wide, but is not so anymore. An interlining is seldom used un-
less the fabric needs more substance. It is essential that the cope fall in nice folds. Use a good seam allow-
ance (as much as 1”). Cut and prepare the morse first, if you are using one. The morse is a rectangular piece
of fabric that is used as a closure. It is found primarily on the heavy older copes especially those with shield
hoods. The newer copes which are lighter (type b) may have a morse or a clasp and chain. Cut the morse 6 to
8 inches long. It may be embroidered and jeweled. The length must be adjusted so that the cope does not
poke at the back of the neck, and the bottom fronts hang parallel and do not overlap. Sew on firmly three
large eyes to the end, and slip-stitch the lining to the back. When finished the morse will be stitched to the
cope at the edge of the orphrey on the wearer’s right hand side, about 12 inches down from the center. Three
large hooks are attached to the corresponding position on the left-hand side.

Place the cut and decorated fabric with its orphreys intact right side up on a flat surface, and place the lining
right side down on it. I like it if the fabric is about one inch longer than necessary on the rounded edge, and

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copyright Sister Mary John, I.H.M.

 You can use computer drawing programs to help design your vestments and get an idea of what it would look like on different fabrics. You
can even download fabrics into some programs. Or copy the picture of the fabric and paste it into your picture. Which of these fabrics would
you use for this applique? The first is a very “busy” brocade the second is a moire solid color. The third is a more subtle brocade.
25

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the lining about 1 inch shorter. Then when the two are joined together this will pull the extra inch of fabric to
the inside and there will be no lining sagging to the outside to show. You will sew the round edge first, then
match the straight edge. Centers meeting at center. Sew leaving hood section of neck open. Turn. Attach
hood and do neck in one of the approved manners described elsewhere in this article.

Hood: the hood can be shaped in various ways. In fact there are some copes that have a “false” hood. That is
the there is a fringe sewed to the fabric to give the appearance of a hood. The inside of this is decorated as you
would a real hood, but there really is not one. I have a cope that is over 125 years old that has no hood, only a
very elaborate decorative back, that gives a slight appearance like a hood. There are cowl hoods, pointed
hoods with tassels, shield hoods (which are joined farther down from the neck below the orphrey).

The cope can be too stiff and unwieldy if the hood is over-large and the orphrey too wide. The neck can be
curved in for as much as 4 inches giving it a much more pleasing appearance and more comfort for the wearer.
Velvet Fabric
As I mentioned, velvet fabric must be treated in a different manner because of its nap. I have yet to find any-
thing that will sew velvet without it moving. I have used walking-feet, velvet feet, roller feet, etc on my sew-
ing machine without success. Yet I love the play of color and the gentle draping of silk velvet, so I had to find
a way. The answer was the “unique stitch” glue.

When you are applying galloon or orphrey to velvet, glue it first. You can’t press stitch witchery because it
flattens the nap (unless you have a needle board for pressing). Be sparing with glue. A dot or two is suffi-
cient. You only need to keep it from moving. Make sure that you are gluing the galloon or orphrey to the
backing fabric and not the top of the nap which will still let it move. Apply pressure to make sure that the nap
flattens and the glue goes to the backing and sticks it to the trim which you are applying.

The best method I found to attach the lining to velvet was discovered when I took an old vestment apart for
repair. The lining was cut with a seam allowance of about 3/8 to ½ inch. The velvet fabric and stablizer back-
ing had no seam allowance, but were cut to the exact size of the finished piece. The lining was laid wrong side
up and the velvet was laid wrong side down, right side up on top of it. The seam allowance was then folded
over the front velvet fabric and pressed (if you have one of those very small craft irons). Basted, or as I do,
glued down around the edges on the right side. This was then covered with a ½ inch or ¾ inch galloon which
was also basted, or glued to cover this raw edge, and then top stitched on both edges of the galloon.

Conclusion
I hope that I have given you enough information so that you can begin to design and make your own traditional
Latin or Gothic vestments. If there is something that you don’t understand, (it is not always easy to explain
with words something that your hands are used to doing), please do not hesitate to write me. I would also en-
joy seeing pictures of your finished garments.

Sources for Materials

Fabric and trims can be bought from any good quality fabric shop, ebay, or vestment supply house. I sell some
fabric on my web site from worldwide fabric houses that I am able to get at better than average prices for ec-
clesiastical brocades. Other places are Almy, LaLame and Istok. Almy and LaLame have beautiful fabrics
and trims designed especially for vestments, but they are very, very expensive. Istok sells beautiful Russian
brocades, and silks. They work through Canada. Obviously they tend to eastern rite styles and patterns, but
many of them are suitable for use in western vestments. They are very economical considering the quality of
their fabric and that it is usually pure silk and often metallic threaded. They do not have much in the way of
galloon. The galloon I offer comes from a company that only allows 5 yard minimum orders, but since you
need 7 yards minimum for any galloon work, that is not a problem. I also have access to 9 yard rolls of beauti-

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ful 1” metallic gold galloon from India for a very reasonable price. I do not stock any of these materials, but
will sell them to you and have the company that manufactures or distributes them send them to you direct.
Because I buy many of these items from other countries I include the shipping cost in the price of the item.
The price quoted is the price you pay.

I make my own appliques and can copy anything that I have a photocopy of to work from. This way I can
replace missing parts to vestment sets and have them match the original. An example is the humeral veil
seen at www.vestments.homestead.com. Afterward I sell other copies of these vestment appliques on my
website. If you have a particular applique or design you want copied or made for a vestment, I can do this
custom work. I prefer to do the applique work and let other do the actual vestment sewing.

Thank you for your interest in this subject and art form.

Immaculate Heart Convent

Sister Mary John, I.H.M.
206 Highland St.
Syracuse, NY 13203

315-426-8707
Email: [email protected]
Web Site: www.sewvestments.com

or·phrey [ áwrfree ] (plural or·phreys) or or·fray [ áwrfree ] (plural or·frays) noun sewing elaborate
embroidery: elaborate embroidery, often done in gold [13th century. Via Old French orfreis from,
ultimately, medieval Latin aurifrigium , literally “Phrygian gold.”] In vestments it signifies the often
elaborately embroidered column or cross in the center of the chasuble. It can however be any wide
decorated band.
Vestments and Vesture, Dom E. A. Roulin, O.S.B., Sands and Co., London, 1931, p. 68
Galloon \Gal*loon"\, n. [From F. or Sp. galon. See Gala. ] 1. A narrow tapelike fabric used for binding
hats, shoes, etc., -- sometimes made ornamental. 2. A similar bordering or binding of rich material, such as
gold lace. A galloon is a trim which can be any width. It is flat, and used usually as a border. Narrow
ribbon can be considered a galloon.
Vestments and Vesture, Dom E. A. Roulin, O.S.B., Sands and Co., London, 1931, p. 92
Ecclesiastical Embroidery, Beryl Dean, Branford Company, Boston, 1958, p. 230
6. Photo with permission of Ecclesia Designs: www.ecclesiadesigns.com

copyright Sister Mary John, I.H.M.

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Bibliography
Roulin, Dom E. A., O.S.B. -- Vestments and Vesture, SANDS., London, 1931

Jones, Nora -- Vestments, Church Needlework 4, EMBROIDERS’ GUILD, London, 1961

Dean Beryl -- Ecclesiastical Embroidery, BRANFORD, Boston, 1958

Florand, Jean-Marc -- L’age D’or De La Chasublierie, FRANC’ALBERT, Besancon, 1992

Catholic Encyclopedia

copyright Sister Mary John, I.H.M.