The Metropolitan Museum of Art Bulletin, v. 29, no. 7 (March, 1971)

are two principles laid down in this revision regarding vestments. The first principle
is this: "the beauty of a vestment should derive from its material and form
rather than from its ornamentation. Any ornamentation should include only
symbols, images, or pictures suitable for liturgical use and anything unbecoming
should be avoided." The second principle is that "in addition to traditional
materials, vestments may be made from natural fabrics of the region or artificial
fabrics in keeping with the dignity of the sacred action and the person wearing
them." Judgments regarding the second principle are left to the body of bishops
in each country or cultural region. In the United States, the National Conference
of Bishops saw fit simply to repeat that principle and then to turn the
judgment over to the local bishop in any cases of doubt about suitability. What
is significant is the opening up of liturgical vestiture to development iri all parts
of the world: vestments now can depart from the traditional materials, decorations,
and form to meet the cultural needs, resources, and wishes of each locality.
Synthetic and local natural materials will supplement the traditional silk
and linen we are so accustomed to. It is of interest to view the medieval examples
of vestments in the light of these developing principles.
O ne additional note should be made. The revised liturgy provides for the
Mass being offered with the celebrant facing the people, instead of having his
back to them. This is now common practice and will probably have considerable
effect on the designing of vestments in the future. When the people were
more in a "spectator" role than in a "participant" role, the back of the chasuble
became the center of visual attention and was often decorated with a cross, a
liturgical symbol, or even a picture of the Last Supper. It harmonized with the
sanctuary and with the vestments of the assisting ministers. Now, with the
priest facing the people, his face, hands, words become the center of attention
and the vestment falls into a secondary visual role. Thus the first principle
stated above comes into a context where the material and the form rather than
decoration dominate the vestment.
In summary, the Church's attitude toward the use of vestments in our time
grows out of her present view of her mission and image. While firmly committed
to sacred vestments in the performance of the liturgy and to maintaining
the basic tradition of the past, the Church will see adaptation and creativity
grow and increase, based not on a Roman or a Catholic or a baroque
model, but arising from varying cultures and local expression.
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