But, above all, their orders for chasubles never failed, and they worked constantly at those vestments, with their five colours: the white, for Confessors and Virgins; the red, for Apostles and Martyrs; the black, for the days of fasting and for the dead; the violet, for the Innocents; and the green for fete-days.

Gold was also often used in place of white or of green.

The same symbols were always in the centre of the Cross: the monograms of Jesus and of the Virgin Mary, the triangle surrounded with rays, the lamb, the pelican, the dove, a chalice, a monstrance, and a bleeding heart pierced with thorns; while higher up and on the arms were designs, or flowers, all the ornamentation being in the ancient style, and all the flora in large blossoms, like anemones, tulips, peonies, pomegranates, or hortensias.
No season passed in which she did not remake the grapes and thorns symbolic, putting silver on black, and gold on red.

For the most costly vestments, she varied the pictures of the heads of saints, having, as a central design, the Annunciation, the Last Supper, or the Crucifixion.
Sometimes the orfreys were worked on the original material itself; at others, she applied bands of silk or satin on brocades of gold cloth, or of velvet.

And all this efflorescence of sacred splendour was created, little by little, by her deft fingers.