Jewish Antecedents of
Christian Vestments
by Rev. Terril D. Litrell, Ph.D.

The liturgical vestments worn in services of Christian worship have their foundation in worship in the Jewish Temple which centered on the "service of the altar" primarily as an expression of devotion to God. In the Hebrew Scriptures, Yahweh required the use of liturgical vestments for the beauty of worship and to bring glory and honor to himself (Exodus 28).

While our Christian use of vestments is not founded on a biblical law, it does spring from biblical principle and the example of the priesthood of Jesus Christ. For the most part, the vestments used in early Christian worship were originally everyday garments of the average citizen who lived during apostolic times. The only requirement was that worship leaders wear spotlessly clean clothing during the liturgy. This concept too was derived from Judaism which required the people to change their garments and be clean (Genesis 35:2; Numbers 31:24). Jewish worshippers wore their best and cleanest garments to honor God on the Sabbath day. This gave rise to the subsequent Christian practice of setting aside certain garments to be used as "Sunday best."

The White Robe and the Tallit

The first garment donned by the early Christian ministry was a white linen tunic (corresponding to the alb), which represents purity, innocence, and righteousness. In Jewish culture, this was the tallit, the four-cornered white outer garment. It is in this garment that Jesus is clad according to Revelation 1:13. To distinguish such articles of clothing as set apart for worship, Christian symbols were often affixed.1

By the second century the full flowing tunic of white linen reaching to the feet was being discarded by the upper classes in Roman culture, no longer being worn at ordinary meetings of the senate. A costume apparently Ionian in origin consisting of a linen robe with close sleeves, covering the whole body from neck to feet replaced the old tunic. By the fourth century shorter styles of clothing were brought in by barbarian mercenaries, making drastic changes in general attire.

By the fifth century the church spoke against the changing styles, and serious decisions were made about what was appropriate for worship leaders. Rather than have its clergy adopt new styles every time there was a change, the church made a law that the ancient usage of the white tunic (alb) be continued. This presented a wonderful visible witness to the historical continuity of the church of the apostles and its Jewish heritage. The idea of a special liturgical dress for the clergy came to be accepted as something right and desirable and a tradition was quite firmly established.2

The white linen alb and rope centure which were most like Jewish vestments were used in worship celebrations by the clergy, deacons, readers, choir, acolytes, and others who assisted in divine worship. The rope centure, which was used to gird up the long, loose flowing alb, so as not to interfere with walking or working, symbolized the cord that bound Jesus to a pillar when being scourged. (John 19:1). To the wearer it was a symbol of being girded with the truth of the gospel. (Ephesians 6:14).

The Stole and the Jewish Prayer Shawl

The church felt that the clergy should somehow be distinct from others during divine service, so the ordinary use of the "stole" or "scarf" solved this problem. The "stole" derived from the Jewish prayer shawl (into which the original tallit or outer garment evolved), which was worn by all Jewish males during divine worship (Numbers 15:37-41). The stole was in universal use as a Christian vestment as early as 395 A.D.

Whenever the clergy wore the stole it was a sign that he was occupied with an official "priestly" duty. He publicly stood in the footsteps of the Lord before the congregation of believers, to stand at the altar repeating the words and actions of Christ in the Upper Room, to bless the people in the name of Christ. It was a reminder that they were engaged in something of great consequence. The stole reminded the people of God that the government of God rests upon the shoulders of Jesus Christ, the head of the church (Isaiah 9:6-7). The fringe on the stole reminded them to observe all the commandments of God, just as the fringes (tzitzit) on the prayer shawl remind the Jewish worshiper to remember all God’s commands and do them.

Other Christian Vestments

From the sixth century onward the chasuble was worn as an outer vestment over the alb, centure, and stole. Originally this was a very full garment shaped like a bell and reaching to the knees. The chasuble was worn only at the celebration of the Eucharist and symbolized the virtue of charity, the yoke of unselfish service for the Lord which the clergy assumed at ordination.

The surplice was a widened and shortened version of the alb worn over a cassock. It was developed in northern countries of cooler temperature in the 12th century. It became the distinctive dress of the lower clergy, laypersons in the choir, and others assisting in the conduct of worship. In the Anglican Church it has been the prescribed eucharistic vestment since Elizabeth 1 (1558-1603).

Different colored vestments with paraments did not evolve until the time of Innocent III (1198-1216). Black was used as a sign of mourning during the procession and litany on the Feast of Purification, on Good Friday, and at funerals. Red and green were used at different celebrations during the liturgical year. Violet gradually evolved as a mere variety of black, and was used during Lent by the Orientals. Blue was used in England and Spain during Advent. All of these liturgical colors were used in Old Testament Jewish worship (Exodus 36:8) except green, which represents eternal life.

When John Wesley was ordained a deacon in 1725 and a priest in 1727, he wore the traditional cassock, surplice, and stole. The cassock was a part of the ordinary dress of the clergy of the Church of England and was really not a vestment in the sense in which a surplice was a vestment. The clerical collar evolved as a white standing collar worn with the cassock. Later the clerical collar was worn with a black suit. Wesley wore a clerical collar with the Calvinistic preaching tabs all of his ministry. He also wore a black gown or robe over his cassock.

Gradually the black robe, coming from the Puritan Renaissance, was worn without the cassock and clerical collar in the tradition of the Reformed church.

Originally the black robe was academic attire of university faculty members of medieval times. It was designed to identify the wearer’s academic attainment and specific area of expertise; gowns with felt lapels and chevrons indicated doctoral degrees, and gowns unadorned except for long tipped sleeves indicated master’s degrees. These robes were worn in the classroom and street by faculty, and sometimes for preaching by the clergy. There was never a liturgical meaning behind the black robe which stood only for scholarship.

Liturgical vestments fell into general disuse in the frontier American church. Traveling on horse back and preaching in brush arbors and camp meetings were not considered appropriate for liturgical garments. There were few itinerant "ordained" ministers in those early days. The ministry of the church was exercised normally by a layman with a secular job. A local preacher regularly conducted Sunday worship in secular clothing and did not normally celebrate the Eucharist or administer baptism.

When more "ordained" ministers emerged, so did the tradition that contemporary lay clothes should be worn at the services. Gradually some of the preachers wanted to distinguish themselves from the congregation by wearing black suits, white shirts, and black ties.

Changing Styles

By the 1920s fads in clergy dress began to appear. The Prince Albert cutaway coat with striped trousers worn by speechmaking politicians and some morticians came into vogue for a while. Some of the northern preachers adopted the use of the traditional clerical collar which was considered a novelty by most southern preachers. The daily practice of wearing a clergy uniform has not gained as wide acceptance among many denominations’ clergy as with Roman Catholics, Episcopalians, and Lutherans.

The black academic robe became popular in the 1950-60s, as more ministers were graduating from seminaries and owned their graduation gowns. Different colored stoles were added to make a nice arrangement. With the Liturgical Renewal Movement of the 1970s and 80s, the academic robe was increasingly considered inappropriate for leading in divine worship except in academic settings, since it reflects secular use and in the educational achievement of the wearer.3 In recent years attempt to modernize or modify the traditional-style academic gown. The gray quasi-academic gown became popular through its use by television ministers. It is encouraging to see the white gown resembling the academic style gaining popularity. As times change, so styles change. There are some innovations in robes however for which there is no tradition whatsoever. They are simply fads!

Since the centured alb is the most ancient and universally used liturgical vestment that connects us to the historic church of ancient times and our Jewish roots, I believe that its use is an outward expression of our historic continuity with apostolic tradition and with the Hebrew foundations of our faith.

Vestments for Other Worship Experiences

The restoration of greater lay participation in Christian worship provides an opportunity for fresh approaches to the functional character of vestments in a purely practical sense of convenience for movement, posture, and gesture, as well as symbolic meaning. Dance and other movement arts are being restored in many Christian worship settings, and attractive vestments are being employed by those who are called to this ministry. This exercise adds beauty and majesty to corporate worship and is a response to the command God gave to Israel of old, "Put on your strength . . . put on your beautiful garments" (Isaiah 52:1). In this time of restoration and renewal, it is entirely appropriate that the entire body of Christ consider recovering this important part of our Hebraic heritage, adorning ourselves in beautiful vestments that reflect our passion for God’s Word and Spirit.

1 Davies, J.G., ed, The Westminster Dictionary of Worship (Philadelphia: The Westminster Press, 1979).

2 Dix, Gregory. The Shape of the Liturgy (Dacre Press, London, 1978).

3 Hickman, Hoyt L. Hickman. United Methodist Altars (Abingdon Press, Nashville, 1984).

Prayer for Vesting: "Make me white, O Lord, and purify my heart so that being made white in the Blood of the Lamb, I may deserve eternal life. Restore unto me, O Lord, the stole of immortality which I lost through the sin of my first parents and, although unworthy to approach your sacred mysteries, may I nevertheless attain to joy eternal. O Lord, who has said, ‘My yoke is easy and my burden light,’ grant that I may so carry it as to merit your grace."

Dr. Terril D. Littrell is a United Methodist pastor with over thirty-five years experience. His positive, biblical, and evangelical ministry focuses on Christ crucified, risen, and coming again. Based on the Judaic model of acceptance and affirmation, he has long been an advocate of positive biblical ecumenism, resotration principles, liturgical renewal, and racial reconcilation. Terril and his wife Chloe live in Erwin, Tennessee, where they both pastor Methodist congregations.

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