 |
| Art-Deco influence from France |
Already in the later nineteenth century there was a Gothic Revival. Then beginning around the time of the end of the First world War, the liturgical movement gave birth to its own changes in liturgical fashion. Gradually styles became more "modern" in appearance until they developed into the absurd and bizarre by the 1960s.
The genesis of change was pioneered in countries like France and Belgium and quickly influenced American priests living in Europe, especially Benedictines. Modern styles incorporated new interpretations of design and some of the early works are quite noteworthy before the spirit of oversimplification took over.
Every fashion age has its own poetry. One example that comes to mind is the streamlined Art-Deco that was apparent in the early years of the movement. The altar cards in the above photo reflect this new craze, made in Toulouse, France in the 1920s.
Then came the Second World War, a turning point -- after the war many liturgical items became more and more simplistic and "modern" looking. This was in keeping with post-war tastes and an ambitious creative drive for modernity that was influenced by secular existentialists thinkers such as Sartre.
Through the 1950s and '60s this was reflected in space-age elements and automotive design. The mid-century modern influenced liturgical design in an overwhelming manner that has lasted many years.
Below are a variety of images of various items from the time of the early to late liturgical movement. Some are more appealing to modern eyes than others. In any event, we include here a variety to give a sense of the fashion current in those years that gradually shifted to a distinct preference for the new and different, and to what was perceived to be a more "Paleo-Christian" or "early Church" look. Everything became Gothic and modern in style, reflecting what was perceived to be the wave of the future.
The epicenter of the liturgical movement in the United States was the Benedictine Abbey of St. John's in Collegeville, Minnesota. Their nearest supplier was the E.M. Lohmann Company, located in St. Paul, Minnesota. In those years much of what Lohman's sold was sourced in Belgium and France. Vestments quickly became less ornate and simple. This ultimately led to the overly simplistic Gothic monastic style that.
Then came the Council and that was followed by an increasingly bizarre array of liturgical fashion, with certain new items on the scene that included polyester albs, grey clerical shirts, chalices made of clay, and felt banners, etc. Part of this was due to secular influences and contemporary modern ways of exploring or understanding liturgical arts, beauty, and understanding.
 |
| Neo-Gothic, simple and plain monastic look |
 |
| More simplistic style reflected also in missal design |
 |
| Mid-century modern furniture design influence |
 |
| Overt simplification of design elements |
 |
| A typical chalice from the year 1938 |
 |
| Even new designs in altar linens came into being |
 |
| Typical new style of the late liturgical movement |
 |
| Early liturgical movement creation |
