Bishop Sheen wore various mitres during his long episcopal career. He gave most of them away before his death. I have been told some of his personal effects ended up with Mons. Edward T. O'Meara, who took over from Sheen in 1966 as the National Director of the Society for the Propagation of the Faith. The two had worked together for years and remained close.
O'Meara went on to the be Archbishop of Indianapolis and he preached the sermon at Sheen's funeral in 1979 just after his appointment. Sheen was buried from St. Patrick's Cathedral in NYC in a Gothic style mitre that was tailored to match his gold-colored Gothic vestments, chosen by him for his burial.
In an age when many mitres lack artistic worth or are just plain ugly, a beautiful mitre stands out. The problem with ugly mitres is that beauty is therefore divested of its ontological significance. Beautiful art reveals reality to us. Sacred art manifests divine beauty. Although the modern world has jettisoned the link between art and beauty, Catholics understand beauty as an ontological and ultimately a theological category.
The beauty of a mitre is therefore intended to reflect the ontological reality of the supreme dignity of the fullness of holy orders in the person of the bishop. The episcopal dignity gives an ontological change to his soul when the new prelate is consecrated (ordained) bishop. This is reflected in the uniqueness, stature, and design of the mitre.
The Baroque style precious mitre (in Latin, mitra pretiosa) adds a certain measure of elegance to the sacred liturgy. Although it is a rare sight today, I wish it was not. Sheen had good taste. Here we see two examples of different mitres he wore, probably made in Rome, possibly from the mid-twentieth century, made to order so as to fit his size head (in life he was relatively short).
The exuberantly worked floral and scroll work designs make these mitres true works of art, edged with gilt braid. They are embroidered on white silk with metal-thread and glass jewel highlights with pearls, enamels and other stones.
The volute pattern symbolizes the growth of a flower, a natural symbol of nature. In all of God's creation, flower and leaf patterns will always stand out as the most harmonious to human perception.
I am assuming on the other side can be seen his coat-of-arms embroidered on the fringed lappets (infulae), each perhaps on a cartouche amid the flow of golden rinceau motif, a wavy stem with leaves branching out.
The variety of glittering gemstones appear to include blue glass cabochon. I doubt any of these are truly precious jewels, although you never know. If any readers have any information on the whereabouts of these mitres, please contact us and let us know.
EDITOR'S NOTE: Precious mitres can still be purchased in Rome, seen below at Vincenzo Serpone. The cost for this version is 1,921.50 Euro. Click here for more info.
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