In honour of Petertide – the feast day marking the martyrdom of the fisher of men – at Watts, we have Ordination on the mind. Whilst one may look to the key Christian festivals for the best of the liturgical arts, the Ordination season offers many intimate opportunities to see cathedrals and dioceses at their most visually impressive, adding personal meaning to the garments that punctuate the procession and ancient pageantry we enjoy.
One of our most popular Mass sets for the occasion of Ordination in the Catholic church is our Pugin High Mass Set. The High Mass Set comprises the following: Chasuble, Priest Stole, Dalmatic, Diaconal Stole, Tunicle (or additional Dalmatic & Diaconal Stole), Burse and Veil. A Maniple is also available as an extra option. Designed to be visually striking yet refined, the set is crafted from a beautiful Alton damask and lined in cotton sateen, incorporating an ornate stripe braid orphrey.
The Pugin Gothic chasuble, pictured here in Red, Purple, and Green.
The set is especially notable for its rich heritage, based on a set designed by A.W.N. Pugin for his final architectural design and ultimate resting place: St Augustine's Abbey, Ramsgate. Having built his home next door, St. Augustine's remained Pugin's most personal project, beginning work in 1846 and devoting his attention to the aesthetic effect of the Abbey's design until his death in 1852. The importance of the site and his contribution to it was understood by Pugin in his diary entry dated 9th February 1849, 'If my life is spared, I fully expect to complete a work on this spot, where the catholic faith first took root… where the old rites may be celebrated in ancient splendour.’ Inherent to the liturgical arts of the Abbey is the celebration and rhythm of these ancient rites, which shape our modern melody of Christian praise.
Left: Chasuble made c. 1848, designed by A. W. N. Pugin. Image courtesy of V&A. Right: Watts & Co.'s Pugin Gothic chasuble in Purple.
Comparing the two chasubles side by side, the influence of Pugin's design is apparent. Whilst our modern interpretation utilises a damask rather than the initially woven brocatelle, the visual and physical impact of the new is undeniable.
One of the most immediately notable details in both chasubles is the clear emphasis on C14 and C15 craft and design. More broadly, Pugin took great care over the visual unity of the Abbey, attempting to apply the 'truth of materials' ethos of medieval-style Gothic architecture that he held in such high regard. Pre-dating the Arts and Crafts movement, Pugin is understood to be the earliest advocate for a return to mediaeval design, which manifested as a celebration of the work of the craftsman. As understood in his "An Apology for the Revival of Christian Architecture in England" (1843), for Pugin, Arts and Crafts were not simply a style but rather a principle.
As briefly touched on, part of this earlier vision of a medieval England coming alive in the present, Pugin’s vision for St Augustine’s extended far beyond the walls, roofs, and fittings, encompassing the design of all the furniture and equipment needed for worship and, crucially, also the vestments into a grand scheme of the rediscovery of lost arts. In a letter to Dr Griffiths in 1844, Pugin explains the holistic approach to Abbey's liturgical art: 'My intention is to complete it with plate, vestments and furniture of every description.' He applied the same sense of purpose, high standards of design and quality craftsmanship to every single item, making the church a unique swan song of Pugin's ideals and design ideas. Thus, it is essential to consider the inheritance of the design of our stock range as part of the broader visual unity of the Abbey.
Left: Original orphrey braid designed by A.W.N. Pugin, 1840s. Image courtesy of V&A. Right: Watts' 'Pugin' orphrey braid, woven in England.
The influence of the Abbey is most distinctly recalled in the chasuble's orphrey. In the original vestments designed by Pugin, the orphrey was not merely influenced by Medieval craft but sometimes applied genuine medieval orphreys to the new C19 garments. However, like the Pugin chasuble at the V&A, this was not always the case and the orphrey was designed to synthesise the floriated cruciform motif so readily found in the decorative arts of C14 and C15 parish churches. Our design takes this one step further, transforming the more organic form of Pugin's design into the fleur-de-lis, which originated from the blue cope of St. Martin of Tours. This symbol remained the emblem of French and, owing to the Hundred Years' War, English royalty until the C15. As a result, the values of importance here at Watts are made clear: linear prestige, the sanctity of design, and English craftsmanship.
Also significant to both designs is the emphasis on a fluid floral repeat pattern that suffuses the fabric with vitality. In both examples, light clings to and embodies the defined edges of the scrolling, vine-like leaves and abstracted blossoming fruits. Here, the techniques of the fabric imbue our vestments with a lustre that reflects the significance of a candidate's discernment of God's light and calling while grounding the wearer in the heritage of English craft techniques.
Pugin Gothic Mitre in White.
The motif also recalls Christ's declaration in John 15: 1-9:
"I am the true vine, and my Father is the gardener. He cuts off every branch in me that bears no fruit, while every branch that does bear fruit he prunes so that it will be even more fruitful. You are already clean because of the word I have spoken to you. Remain in me, and I will remain in you. No branch can bear fruit by itself; it must remain in the vine. Neither can you bear fruit unless you remain in me. "I am the vine; you are the branches. If a man remains in me and I in him, he will bear much fruit; apart from me you can do nothing. If anyone does not remain in me, he is like a branch that is thrown away and withers; such branches are picked up, thrown into the fire and burned. If you remain in me and my words remain in you, ask whatever you wish, and it will be given you. This is to my Father's glory, that you bear much fruit, showing yourselves to be my disciples. "As the Father has loved me, so have I loved you. Now remain in my love."
The importance of Christ as the true vine and also the responsibility of Christians, who, in acting as disciples of Christ, must bear fruit in love given to them by God; ultimately, it is only when imbued with the light of his compassion that the fruit is able to blossom. As such, the pattern, which raises the warp from the weft, boldly conveys a two-fold message of raising the fruit borne from the vine but also reminding its wearer of the branches that wither when cut from the vine.
This emphasis on scrolling foliage is also resonant with the internal decoration of the Abbey, featuring stained glass, tiles, sculpture, and wall paintings that fill the church with vivid verdigris motifs. It seems that the church building, its fittings, and its vestments interact with the light of God, performing a kind of photosynthesis that nourishes those who sit in the pews.
As such, our chasuble, in the tradition of Pugin, performs as a living and breathing symbol of the Christian faith, a timely message that is especially poignant for those entering their new ministries. The rite of Ordination imparts knowledge with dignity, and we think you will agree that with the redolent symbolism of our Pugin High Mass Set, the beauty of divinely inspired craft emphasises the importance of our taking root in these rich traditions to remain alive in the light and love of God.
