Faith and Fabric: Glimpses of Sacred Textiles from Goa

A ceremonial base cloth was placed either on the altar steps or on the altar itself. It was used as a base for the monstrance that contained the  consecrated Host for the adoration of the faithful. Made of richly embroidered silk or velvet, it could be circular, triangular or polygonal.

This ceremonial base cloth is six-sided and made of red velvet. In the centre is the crowned dove of the Holy Spirit, which has well-defined and imposing wings and tail, and is embroidered in relief with gold thread. 

A composition of branches, buds and flowers, also gold-embroidered, surrounds the central motif.     

Besides their use as part of liturgical objects, textiles such as the altar frontal, were used in church furnishings.

Altar frontals or altar cloths adorned the front of church altars. They were made of various materials, including rich or embroidered fabrics in the same colour as the vestments of the day.

This altar frontal is made of cream-coloured silk. It has oriental floral designs embroidered in polychrome silk. This repetitive design covers the whole piece, including the narrow border.

A tabernacle veil or curtain is used to cover the tabernacle in a church. The fabric to be used in the tabernacle veil was not specified, nor was its colour, except that it should not be black.  However, the decoration had to be associated with the Eucharist.

Flanking the central composition are two kneeling angels. A symbolic plant motif of grape and wheat ears fills the bottom and sides of the central composition, which is trimmed in gold.

This tabernacle veil has a central gold-embroidered design of a radiating monstrance resting on a red silk and gold embroidered Bible. The Bible has hanging tassels upon which lies the divine lamb, also embroidered in gold.

The side cloths, in which small winged angel heads (seraphim) appear, has a radiating circular gold-embroidered composition. This contains the IHS trigram signifying Christ.

‘The dalmatic is to the deacon what the chasuble is to the priest: the outer vestment normally worn for the Eucharist.’ The Deacon at Mass, Deacon William T. Ditewig

The dalmatic and stole are part of a set of vestments usually worn by deacons. Judging by their appearance, they must have been worn for major Church celebrations. It is assumed that they came into the Church’s possession either by purchase or as a gift to mark a special celebration in the liturgical calendar.

This dalmatic and stole are made from expensive European white silk, with an elaborate 18^th century pattern embroidered in coloured silk and gold thread, and are further trimmed in yellow silk, which defines their overall shape.

The humeral or shoulder veil derives its name from the fact that the priest places it over his shoulders and fastens it at the front during certain church ceremonies.

The white silk humeral veil is profusely embroidered in gold and coloured silk thread. In the centre, is a circular radiating composition containing Christ’s trigram and the three nails, surmounted by a cross. Mughal-influenced flowers of different sizes mark an otherwise sparse composition on the veil.

It is edged by a gold band simulating a narrow border. An undulating gold-embroidered plant motif alternating with stylized leaves and flowers is repeated across the border.

Processional banners, generally large, are cut from rich fabric in a rectangular design, with the bottom part either ending in points or indented. 

The banner belonged to the Confraternity of Saint Joseph as can be seen from the image of the saint depicted on the front of the banner.

This processional banner hangs from a horizontal staff with knobs at the ends. Galloons and two thick cords ending in large tassels are used for both decoration and as guides to help the member who carried this banner. 

A processional cross mounted on a tall pole is carried at the head of most religious processions in the church. The processional cross sleeve is attached below the processional cross.

This processional cross sleeve shows typical couched work made with gold thread known as ‘zardozi’. The designs on the cross sleeve depict Christian themes. 

The gold-embroidered pattern of the lamb ‘Agnus Dei’ (Lamb of God) is seen  resting on a book. Grapes and wheat ear motifs are seen around it. This symbolic representation shows the lamb seated on a book of seven seals.

There are two bands of gold-embroidered grape vines around the top and bottom of this composition. The bottom edge of the cross sleeve ends in tassles.

Textiles were also used in garments meant for images of the Virgin Mary, Christ and the Saints. Such garments were usually offered by the devotees in fulfilment of a vow.

This image of the Infant Jesus, Saviour of the World is dressed in a gold-embroidered red velvet gown. The thread-work is of the Mughal zardozi style, with its Tree of Life, vegetal and floral motifs.