When gold turns into silk…

In order to solemnize the ceremonies in the Royal Basilica, modelled after the Papal Rome, the King also commissioned numerous religious implements, including a collection of silk church vestments produced in France and Italy, unique in terms of both quality and quantity of the order.

One of the earliest references to these church vestments is a document dated September 29, 1730, a few days before the solemn consecration of the Basilica, held on October 22 of that same year.

In the document, belonging to the Biblioteca Pública de Évora, are listed all the church vestments that were deposited here for use of the Royal Basilica, their color, the classification in more and less solemn days, the typology of the pieces and their provenance, namely Italy (Genoa and Milan) and France. Some arrived in 1730 and were solemnly blessed on the eve of the first day of the Basilica's consecration ceremonies.

The responsible for the King’s commissions in Italy was one of the most prestigious figures of Portuguese culture in the reign of King João V, José Maria de Fonseca Évora (1690/1752), a Franciscan friar, the ambassador of Portugal to the Holy See, a collector, Maecenas and, finally, the Bishop of Porto.

Living in Rome from 1712, the year he accompanied the Marquis of Fontes in the famous embassy of the King of Portugal to Pope Clement XI, D. Frei Fonseca Évora became a privileged interlocutor in the process of acquiring works of art for the Portuguese court, especially in the orders destined to the Royal Basilica of Mafra.

The liturgical cuffs were used by the celebrant to decorate the sleeves of the alb.

The dalmatic is used by the deacon over the other vestments during the mass or other solemn celebrations, processions or the blessing of the Holy Sacrament.

The same number and type of pieces (36) compose the purple half-embroidered satin vestment made in Milan adorned with the same type of decoration and embroidery, as can be seen in the pair of liturgical cuffs and in detail in this image. The purple color in liturgy was used in Advent and Lent. It is a symbol of penance and serenity. It was also used, as it can be read in the inventories of the Royal Basilica of Mafra, "to sing the Passion" [of Christ]. Today, it can also be used in the masses of the dead and in penitential services.

Purple satin half-embroidered vestment made in Milan (Missal cover and detail).

Also from Milan, came the black half-embroidered satin vestment for the Solemn Masses of the Deceased, used, as the name says, in the masses for dead friars. It includes 31 pieces. This black set was the one which suffered the most over time, as the chemicals used in the tincture to color the satin corrupted the support fabric until it completely disappeared. Just the embroidery, attached directly to the cotton lining, remains.

From Italy, in this case Genoa, came two other ensembles: one crimson and one white, perhaps the most sumptuous of the collection.

The crimson embroidered satin vestment made in Genoa for the Most Solemn Days, consists of 30 pieces.

Crimson (red) color is used in the Chrism and Pentecost Masses, to evoke the fire of the Holy Spirit. It can also evoke blood, so it is also used in celebrations in honor of the Martyrs and on Friday of the Passion and Palm Sunday Here, a chasuble called, by its shape, a Roman chasuble. Liturgically, the chasuble is one of the most important pieces, specifically intended to be used by the celebrant during the Eucharist.

Cope belonging to the crimson embroidered satin vestment made in Genoa for the Most Solemn Days.

The cope was used by the celebrant in the solemn blessings made at the altar, in the processions, for the solemn prayers of Good Friday, at the Paschal Vigil, Solemn Vespers and Lauds, as well as at the end of the Matins Solemn. It can also be used by an assistant priest in the first masses of new priests (if not concelebrants) and for the celebration of the Sacraments outside the Mass and in the blessing with the Blessed Sacrament.

The cope has the shape of a long mantle or cloak, open in front and fastened at the breast with a band or clasp, called a "morse". In the back it has a shield-shaped piece, normally highly decorated, vestige of a primitive hood. It may be of any liturgical color, according to the liturgy.

The "grammata" is a piece of square format, as the name says, that was placed attached to the alb, at the end of the chasuble. Its use was reserved to Pontifical masses. This piece has felt into disuse.

Also from Genoa arrived, on the same date, the white satin vestment with embroidered orphreys made in Genoa for the Less Solemn Days, composed of 30 pieces.

Liturgically, the white color is used in festive Masses such as Easter, Christmas, the Feasts of Our Lord, the Feasts of Our Lady and the Saints, except for the martyrs. It symbolizes joy, resurrection, victory and purity.

Crimson satin embroidered vestment made in Genoa for the Most Solemn Days (Pulpit fall), c.1729.

The Royal Basilica of Mafra does not have, as it is often the case, a structural pulpit for preaching, but a wooden pulpit that could be removed when necessary. In the solemn festivities, the pulpit was decorated with an embroidered pulpit fall belonging to the same vestment used in the liturgy of the day.