White silk satin chasuble of the early 20th century Baroque period chasuble; the green velvet French
French silk and metallic gold thread brocade
with silk and gold metallic thread embroidery;
the chausble belonged to the owners of Schloss
Frohsdorf in Lanzenkirchen, Austria. The style
of embroidery clearly shows the influence of
the Wiener Werkstätte (Vienna Workshop) —
a precursor of the Art Deco movement. The
workshop placed a particular emphasis on the
design aesthetics of the applied arts. Church of
the Resurrection, New York
Red damask chasuble, middle 20th century,
embroidered with silk and gold metallic crosses;
the orphrey panels on the chasuble are gold raw
silk. Made by retailer J.M. Hall of New York.
Cathedral of the Incarnation, Garden City
orphreys and edges are heavily embroidered
with metallic silver and gold threads in a pattern
of stylized pomegranates. The orphreys were
remounted onto silk satin fabric by Watt & Co.
Ltd. and then remade into a chasuble. Orphreys
are mid- to late 17th century, possibly Italian or
Spanish. St. Thomas Church, New York
Ivory silk maniple, possibly late 18th or early 19th
century, is embroidered in polychrome silk and
silver metallic thread. The flowers and leaves are
embroidered in long and short and satin stitches.
Textile Conservation Lab, Cathedral of St. John
the Divine, New York
chasuble woven with garlands of roses, grapes,
and wheat. Metallic gold ribbon with grapes
trims the orphreys. Nimbus rays of metallic gold
spanges and silver stars surround the monogram
A.M. (Ave Maria). Opulent brocades of the
chasuble and orphreys were most likely woven
in Lyon in the early 18th century. Church of the
Resurrection, New York
A red silk stole, late 19th century, is embroidered
with vines of passion flowers and thistle. The
passion flower calls to mind Christ’s final days
leading to his crucifixion and resurrection. “Stola
Innorentiae Dominus te induat” is inscribed. St.
Paul’s, Staten Island
February 18, 2024 • The Living Church • 21
Silk damask Lenten frontal and superfrontal; the original late 19th c. silk and gold metallic thread embroidered crosses incorporate the
passionflower and the instruments of Christ’s Passion. The superfrontal is embroidered with “Holy, Holy, Holy” in elaborate Gothic letters. It
was restored and remounted on new Watts and Co. silk damask in royal purple and black. St. Michael’s Church, New York

22 • The Living Church • February 18, 2024

Red damask and cut velvet Transfiguration cope; the cope hood depicts the Transfiguration. Jesus is depicted within a vesica surrounded by clouds.
God speaks from the clouds: “This is my beloved Son, with whom I am well pleased; listen to him” (Mark 9:7). The cut velvet orphrey panels are
embellished with flames and Botone crosses. Designed by Sr. Olive Frances, CSJB, 1927. Church of the Transfiguration, New York
(Continued from page 20)
Everyone has been extremely generous to open their sacris-
ties to me. The response has been universally enthusiastic.
Someone can go to my website and click on the tab that
says Get Involved. They can fill out a form telling me a bit
about their church and items in their sacristy. I will then get
back in touch with them to schedule a visit.
Do you have any favorite items?
I do think that one of my recent discoveries of a cope
belonging to the Church of the Transfiguration might be
my favorite right now. When I first saw the cope, I knew
that the cross motif was the same as a sample piece at the
convent of the Community of St. John Baptist. Also, the
style of embroidery was definitely theirs. About a week
later, I was doing some research in the archives of the
convent when I came across the actual invoice from 1927
for the Transfiguration cope, as well as the fact that it was
commissioned by Miss Anna Houghton, niece of the Rev.
George Hendric Houghton, founder of the Church of the
Transfiguration in 1848.
Would you say something about the book project?
The book will be an extension of my project and a survey of
vestment collections throughout the state. It will discuss the
history of vestments, materials and techniques, the numer-
ous vestment retailers both past and present, as well as how
to design and select materials for new vestments and how
to care for cherished historic ones. My sincere hope is that
the book will be accompanied by an exhibition. I also have
plans to create a searchable database so that this important
history can be made available to scholars, artists, designers,
and people who just simply love textiles.
There has been conversation online about similarly
focused geographic projects in other parts of the coun-
try. Do you have any thoughts about this idea?
I think that this type of project could be launched in other
states, even other countries, and not only within the Epis-
copal Church but other denominations. Textiles are one
of the most fragile materials, but the most familiar to us
all. I’ve read that the Bible mentions garments 164 times.
I have people from around the globe following me on
social media, so I know that this is a subject that is just
waiting for more people to get excited about. I cannot
wait to open the doors, drawers, and cabinets of these
“sacra,” holy places, and show the world what treasures
are contained within.
Richard Mammana Jr. is TLC’s archivist and a parishioner at
S. Clement’s, Philadelphia.
February 18, 2024 • The Living Church • 23