Over the past months we've introduced our readers to the rather unique liturgical art of leather-based paraments. We have show some of the antependia that have been done -- including by contemporary workshops like Lutson, a company based in France who, to this day, still are able to make these for customers (read more about that in our article on the topic) -- and more recently we shared an example of a leather chasuble found in the collection of the Victoria and Albert Museum.
The V&A happened to have another such chasuble in their collection, so of course we couldn't resist sharing it with our readers given the obscurity of these types of paraments.
This particular set is dated to circa 1700-1750 and, like the previous example we shared, is thought to originate in Germany. The Museum really has no further information on it historically speaking and regrettably we only have the chasuble and maniple from the set. The stole would, of course, have simply been a longer version of the maniple, so it would be easy enough to ascertain how it would have at least appeared. The burse would also be fairly easy to envision but what I am rather curious about, however, how the chalice veil would have been handled (was it?), given that such veils need to have the ability to drape over the chalice and pall -- but I digress.
This particular set is dated to circa 1700-1750 and, like the previous example we shared, is thought to originate in Germany. The Museum really has no further information on it historically speaking and regrettably we only have the chasuble and maniple from the set. The stole would, of course, have simply been a longer version of the maniple, so it would be easy enough to ascertain how it would have at least appeared. The burse would also be fairly easy to envision but what I am rather curious about, however, how the chalice veil would have been handled (was it?), given that such veils need to have the ability to drape over the chalice and pall -- but I digress.
Design wise, the particular set we are featuring today is evidently intended as a festal chasuble, being of a silvery-white colour with designs approximating spring-like floral designs done in pale hues of gold, blue, green and orange, consistent with the particular tastes of the eighteenth century. The nature and theme of the design suggest to me that this particular set was primarily envisioned for use at during the Easter season and possible Marian feasts as well.
As far as the galloon pattern goes, the design follows an Austrian model insofar as both the front and back have simple column galloons (rather than a Tau cross on the front, as in the case of the Italians, or a Latin cross on the back, as in the case of the French) . The same holds true for the shape, at least for the front of the chasuble, which utilizes the rounded, tear-drop like shape we can find in Austrian paraments.
With all that commentary aside then, let's take a look.
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| The front of the chasuble, detached |
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| The maniple from the set. The stole would have simply been a longer version of this, but otherwise likely substantially the same. |
The Church's tradition of liturgical art always has a way of managing to surprise you, for just when you think you've seen everything, you come across examples like these that make you aware that you haven't.
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