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The conical chasuble is a very dignified manifestation of the fuller form of the chasuble, and something rather iconic given its long-standing usage within the Western church.

Unlike other varieties of the vestment, the classical chasuble has to be worn in a special way. It is not enough just to settle it on the shoulders. Since the garment covers the whole body, including the arms, it is obvious that these must be disencumbered. It is the freeing of the arms that causes the pattern of folds characteristic of this type of chasuble. Everything depends on disengaging the arms correctly, in a way that gives the garment the full beauty of its specific "hang", and at the same time gives the celebrant a reasonable freedom of action.

The illustrations show the stages in this movement. A few words of explanation may help.

First, put on the chasuble, pulling it a little backward but not enough to stretch the crosspiece at the neck opening. Make sure that the vertical orphrey is exactly centered in front. Let both arms drop at the sides. This stage is indispensable. To omit it changes the effectiveness of the action

Next, with the elbows straight, slowly raise the arms, keeping them a little towards the back. The arms should be roughly at right angles to one another, repeating the right angle formed by the chasuble when laid out flat

Continue the action, lifting the arms slowly with slightly bent elbows. The chasuble begins to lift and to form folds.

Raise and lower the arms gently two or three times somewhat in the manner of a flying bird. This will cause the folds to slide together of their own accord into the angle of the elbows, and will expose about four inches of the sleeves of the alb. Join the hands.

During Mass, the priest's gestures are of course limited to those enjoined by the rubrics. The very shape of the classical chasuble precludes exaggerated movements such as the wide stretching out of the arms either horizontally or vertically, and the lifting of the elbows, especially in genuflections. Instead, the vestment itself imposes the reserve that is required by the ceremonial. The most pronounced gestures of the Massare the elevation of the host and chalice, and if these are made properly, they are perfectly adapted to this chasuble. The same is true of the genuflections. If these are correctly made, the hands being placed on the altar and the elbows kept close to the sides, the chasuble falls gracefully into the beautiful pattern of folds.

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If the chasuble tends to slip during Mass, either on account of the nature of the fabric, or of the lining, or because of the gestures, it may be pushed back into the angles of the elbows. Such slipping is always from front to back rather than towards the hands, as is obvious on account of the conical shape. Therefore the folds must be gathered into the elbows as well as towards the front. Slip the hands under the edge of the garment, leaving the thumb on top. This makes it easy to lift the mass of the material and move it over the elbows towards the front.

It takes but a short while to learn to put on the chasuble properly, and once this is learned it will be found to move very little.

Even when the hands are placed on the altar, its folds stay caught in the angle of the elbows, its edge resting on the sleeves of the alb.