Red festive chasuble

Roman style chasuble (fiddleback) of the Austrian type; the bottom of the front and back is rounded, with the back slightly flaring towards the bottom. Triangular neck opening. The chasuble is sewn from silk fabric decorated with brocaded colorful motifs of exotic flowers, fruits, and leaves, featuring characteristic chiaroscuro modeling, on a cherry-red/dark pink satin ground. The edges are trimmed with gold-colored galloon. Applied bands of similar galloon divide the front into three sections and extend down the full length of the back. The tapes framing the neckline also extend to the back, forming a “V” shape on the upper back. On the front, a horizontal band of galloon connects the opposite edges at armpit height, and short sections of tape are also applied on the sides below. Plain lining of pink cotton satin.

Provenance / Notes:
This chasuble represents a new type that appeared in the 18th century. Unlike earlier vestments, traditionally made of heavy brocade or velvet fabrics and richly embroidered, lighter fabrics were used, with the structure emphasized by applied gold galloons. Regional variations of the Roman cut developed: in the French version, the back featured a cross-shaped galloon, while in the Italian version, galloons divided the back into three parts, forming a “V” at the top. The Austrian type differed from the Italian by the back slightly flaring towards the bottom. Fabrics in these chasubles rarely feature patterns or colors alluding to religious symbolism. However, among the motifs adorning this fabric is the pomegranate, a symbol of the Church and the Passion of Christ.

The fabric is technically and artistically superb. It is adorned with large-repeat, “three-dimensional” colorful motifs of flowers, plants, and fruits with characteristic shading, made possible by the points rentrés technique introduced by Parisian designer Jean Revel around 1730, allowing for subtler color blending. The pattern is an excellent example of the “floral naturalism” fashionable in the 1730s and 1740s. Inspiration was drawn from botanical illustrations, especially of exotic plants; the aim, however, was not faithful reproduction but the impression of fleshy forms and vivid colors.