Fact-checked by Grok 2 weeks ago

Cope

The cope (Latin: cappa, pluviale, or peduviale), also known as a pluvial, is a liturgical vestment worn by clergy in the Catholic Church, Anglican Communion, and some Lutheran and other Christian denominations. It consists of a long, semicircular mantle or cloak, open down the front and fastened at the breast with a clasp or morse, often featuring a hood or shield-shaped ornament at the back.^[1]^[2] Originating from the ancient Roman cappa, a hooded traveling cloak, the cope evolved into a ceremonial garment by the 8th century, with widespread adoption in monastic and cathedral liturgies by the 11th–12th centuries. It is primarily used in processions, solemn blessings, burials, and non-Eucharistic services such as Vespers or Benediction, symbolizing protection and authority. Unlike the chasuble, which is closed and worn during Mass, the cope is donned by assisting clergy of all ranks and, in some traditions, by the celebrant for specific rites. Made from silk or rich fabrics in liturgical colors (e.g., white for feasts, red for martyrs, violet for penitential seasons), it often includes elaborate embroidery.^[1]^[2] Historically, the cope played a key role in medieval processions and remains integral to solemn liturgies today, with adaptations in secular contexts like academic dress. Its theological significance underscores humility and divine covering, reflecting the wearer's role in leading the faithful.^[1]^[2]^[3]

Etymology and Origins

Linguistic Roots

The term "cope," referring to the ecclesiastical vestment, derives from the Old English word cāp, meaning a hood or cape, which itself evolved from the Late Latin cāpa or cappa, denoting a cloak or hooded garment. This Late Latin term is connected to the classical Latin caput, meaning "head," reflecting the garment's original function as a head-covering outer layer.^[4] The word's roots trace further to a broader Germanic adoption of the Latin cappa, reconstructed in Proto-Germanic as kappô, which spread across early medieval languages as a term for protective cloaks. This linguistic borrowing occurred through interactions between Roman and Germanic cultures, with variants appearing in Old High German chappa, Old Norse kápa, and Old Frisian kappe. The term's dissemination in ecclesiastical contexts was facilitated by monastic communities in the 6th to 8th centuries, where Latin texts and translations preserved and adapted it for religious use.^[5]^[6] One of the earliest documented uses of cappa in a liturgical or ecclesiastical sense appears in the writings of St. Gregory of Tours (c. 538–594), the 6th-century bishop and historian, who describes it as a protective outer garment, likely a hooded cloak worn for practical purposes during travel or outdoor rites. Similar references occur in the 7th-century Miracula Sancti Fursei, portraying the cappa as a hooded cloak associated with clerical attire. These early Latin texts mark the transition of the term from secular usage to its integration into church language, laying the groundwork for its specialization as a vestment.^[7]

Early Terminology

In early medieval Christian liturgical nomenclature, the term "pluviale," meaning "rain cloak," was adopted to describe the cope as a protective outer garment suitable for processional use in inclement weather. This terminology reflected its practical origins as an adaptation of the Roman cappa, a hooded mantle worn outdoors, which evolved into a ceremonial vestment by the eighth and ninth centuries.^[8]^[9] A notable early example appears in the 801 AD inventory of the Abbey of Saint-Riquier in Picardy, which lists 200 "cappere" (a variant of cappa, often interpreted as copes or cloaks), indicating the garment's prevalence in monastic and ecclesiastical settings. By 831 AD, this number had increased to 377, though most were described as simple items of coarse material for everyday use, with one exceptional gold-embroidered example in chestnut color reserved for dignitaries.^[8] During the ninth to twelfth centuries, terminology shifted toward "cappa" in Carolingian texts, such as Alcuin's correspondence, where it denoted hooded cloaks for both monastic daily wear and emerging liturgical purposes, gradually distinguishing the ecclesiastical version from secular mantles through richer materials and ceremonial contexts. In Anglo-Saxon sources from the same period, "cope" emerged as an English derivative, emphasizing the garment's specialized role in church processions, separate from ordinary cloaks like the cuculla used in Gaul.^[8] Regional variations persisted in English contexts, where "chimere" was used in the twelfth and early thirteenth centuries to refer to a sleeveless, cope-like vestment worn by clergy in academic or processional attire, often derived from or worn alongside the fuller cope. This term, appearing in medieval university costumes, highlighted local adaptations before the broader standardization of "cope" across Western Christianity by the mid-thirteenth century, solidifying its identity as a distinct liturgical mantle.^[9]

Physical Description

Structure and Components

The cope is a semicircular or elliptical liturgical vestment consisting of a long mantle that drapes over the shoulders from a straight edge at the neck, extending to the ankles and typically measuring 50 to 60 inches in length. It remains open in the front and is fastened at the throat by a morse, a decorative clasp or brooch that secures the garment during wear.^[10] Early designs of the cope incorporated a hood, known as a cowl, attached to the upper rear of the mantle, which could be functional in inclement weather or purely decorative with embroidered motifs. In contemporary forms, the hood is often integrated as a symbolic or ornamental element or entirely omitted, depending on the tradition and liturgical context. The stole is worn underneath the cope, laid straight across the breast or crossed, forming an essential underlayer that complements the outer structure.^[11] The primary structural component is the mantle itself, a broad, flowing semicircular form that provides ample coverage and mobility for processional use. An orphrey, a wide band of embroidered or richly decorated fabric, typically adorns the straight front edge from neck to hem and may extend along the curved lower border, defining the vestment's silhouette and adding visual weight to its assembly.^[10]

Materials and Construction

Copes have traditionally been crafted from luxurious fabrics to reflect their ceremonial importance, with silk, wool, and cloth of gold serving as primary materials since the early medieval period. Early copes, dating to the 9th century, were often made from simpler wool or linen for practical use in processions, but by the 10th century, silk became dominant, as evidenced by inventories listing 33 silk copes at Saint-Trond Abbey around 870. In the later medieval era, particularly in royal and ecclesiastical collections such as those of James IV and V of Scotland, velvet, taffeta, and cloth of gold were favored for their opulence, with examples including black velvet copes embroidered with royal arms and white copes featuring gold suns. These materials were selected for their ability to drape elegantly while supporting intricate decorations.^[2]^[12]^[9] Construction techniques emphasize handcraftsmanship, beginning with cutting a semicircular mantle—typically measuring around 5 to 6 feet in length—to form the basic shape, which is left open at the front and fastened at the neck with a morse clasp. Orphreys, the wide decorative bands running along the front edges and often forming a cross on the back, are meticulously hand-sewn onto the fabric and adorned with embroidery using gold or silver bullion threads for a shimmering metallic effect; these threads are couched down with fine silk to secure them without piercing the metal. The hood, a shield-shaped panel at the rear, is attached via buttons or seams and similarly embroidered with biblical motifs in the opus anglicanum style prevalent in 13th- and 14th-century England. The entire garment is lined with lightweight silk or linen to ensure smooth movement and protect the outer fabric, a practice noted in medieval designs for both functionality and preservation of the embroidery.^[2]^[13]^[9]^[14]^[15] Materials evolved from simpler wool or linen in the early medieval period to luxurious silks and velvets by the late medieval and Renaissance eras, reflecting increasing opulence in liturgical use. This change is apparent in Renaissance examples, such as Italo-German copes using silk velvets with gold embroidery, prioritizing aesthetic refinement over robustness. For antique copes, preservation involves storing them in acid-free environments at controlled temperatures and humidity levels, as practiced by institutions like the Textile Research Centre, to mitigate degradation of organic fibers and metallic threads; conservation also includes minimal intervention stitching to stabilize seams without altering original construction. In modern production, synthetic blends such as polyester or microfiber are increasingly incorporated for their durability, wrinkle resistance, and ease of maintenance, enabling faithful reproductions of historical designs while reducing costs and wear in frequent use.^[2]^[16]^[13]^[17]

Historical Development

Ancient and Early Medieval Periods

The cope emerged in late antiquity as a practical garment derived from the Roman paenula, a hooded mantle or traveling cloak designed for protection against rain and cold during journeys. This secular outerwear, open at the front and semicircular in shape, was gradually adopted by early Christian clergy for its utility in outdoor settings, earning the name pluviale (Latin for "rain garment") to denote its weather-resistant purpose.^[18] By the 6th century, monks in Western Europe had adapted the pluviale for liturgical processions, transforming it from everyday attire into an ecclesiastical vestment suitable for communal outdoor rituals. This adaptation aligned with the growing emphasis on monastic discipline and public worship, where the garment's hood provided essential shelter during inclement weather. Early references to such use appear in descriptions of Roman and Gallican rites, highlighting its role in non-Eucharistic ceremonies like benedictions and rogation processions. Evidence of the cope's widespread adoption in monastic communities comes from 8th- and 9th-century inventories, which document large numbers of these garments. For instance, the 831 inventory of the abbey of Saint-Riquier in Picardy records 377 copes, underscoring their prevalence as standard choir dress among monks. These lists often distinguish plain woolen versions for daily use from more ornate ones reserved for dignitaries.^[2] The formalization of the cope as choir dress was influenced by Byzantine and Carolingian courts during the early medieval period, where imperial protocols emphasized standardized clerical attire inspired by Roman traditions. Byzantine mantles contributed to the garment's elegant drape, while Carolingian reforms under Charlemagne promoted uniformity across Frankish monasteries, integrating the cope into daily offices and processions. Early versions retained functional hoods, which were later stylized but originally served for weather protection in northern climates.

Late Medieval to Modern Eras

During the late medieval period, from the 12th to 15th centuries, the cope evolved into a highly ornate vestment, particularly amid the Gothic architectural and artistic flourishing, where rich embroidery and appliqué work elevated its ceremonial role. English artisans specialized in Opus Anglicanum, a fine embroidery technique using silk and gold threads to depict biblical scenes, floral motifs, and heraldic symbols on velvet or silk bases, transforming the cope into a masterpiece of textile art.^[19] A prime example is a 15th-century English cope in purple velvet, featuring embroidered cherubim, thistles, and a central crucifixion shield, which resisted Renaissance influences due to protective guild practices and import restrictions.^[19] Inventories from Westminster Abbey in 1388 document over 300 such copes in the monastery's possession, underscoring their prevalence, though few intact pieces survive; the Stonyhurst cope, a royal gift from the period, exemplifies this tradition with its embroidered opulence.^[20] The Reformation in the 16th century marked a period of decline for the cope, with reductions in its Catholic use emphasizing sobriety over medieval extravagance and near-disappearance in many Protestant contexts. In the Catholic Church, the Council of Trent (1545–1563) standardized vestments but curtailed overly lavish designs to counter perceived abuses, limiting the cope primarily to processions and benedictions while retaining its form for bishops and priests.^[2] Among Protestants, Anglican reforms under Elizabeth I preserved the cope alongside the surplice as one of few allowed vestments, yet Puritan influences led to its widespread abandonment in favor of plain academic or civil attire, effectively sidelining it in nonconformist worship.^[21] The 19th century brought revival through the Oxford Movement, a high-church Anglican initiative that restored the cope's prominence by reintroducing Gothic-style elaborations with vibrant liturgical colors and high-quality fabrics to reclaim pre-Reformation aesthetics.^[21] This renewal influenced broader Christian practices, emphasizing the vestment's symbolic depth in processions and choral services. In the 20th and 21st centuries, the cope adapted to modern liturgical shifts, including simplifications from the Second Vatican Council. Sacrosanctum Concilium (1963, implemented 1969) called for vestments like the cope to be dignified, functional, and less costly, allowing simpler cuts and materials while preserving their sacred purpose for non-Mass rites such as asperges or confirmations. Among Lutherans, the cope persists in high-church settings, with examples from synods like the Evangelical Lutheran Church in America incorporating it for contemporary ceremonies, including the October 2025 installation of Presiding Bishop Yehiel Curry.^[22]^[23]

Liturgical Significance

Symbolism and Theology

In Christian theology, the cope symbolizes the imperfection of earthly life and the partial vision of divine truths available to humanity, as articulated by William Durandus in his 13th-century Rationale Divinorum Officiorum. Drawing from 1 Corinthians 13:12, Durandus explains that the cope signifies "the imperfection of the present life, for we see now through a glass in a dark manner," underscoring the vestment's role in reminding clergy of their transient state and the need for spiritual humility amid material realities.^[24] As an outer garment layered over other vestments like the alb and stole, the cope further evokes themes of service and subservience, positioning the wearer as a servant enveloped in divine grace rather than personal glory. Medieval commentators, including Honorius of Autun in his 12th-century Gemma Animae, interpreted such outer vestments as emblematic of priestly virtues, with the cope's enveloping form highlighting the cleric's commitment to humble ministry within the Church.^[25] The cope's theological associations also extend to protection and heavenly coverage in processional contexts, where it shields the bearer as God shields the faithful. This imagery aligns with broader liturgical symbolism of divine safeguarding, transforming the vestment into a visible sign of celestial guardianship during sacred rites.^[26] Over time, the cope's symbolism evolved from its practical roots as a sheltering cloak—originally a hooded mantle for protection against cold and weather in early medieval processions—to a profound emblem of Eucharistic reverence. By the late Middle Ages, it became integral to ceremonies honoring the Blessed Sacrament, its flowing form evoking the expansive grace of the Eucharist and the Church's communal worship.^[26] This shift reflects the vestment's deepening integration into doctrinal life, prioritizing spiritual enclosure over mere utility.

Liturgical Colors and Seasons

The cope, as a liturgical vestment, adheres to the established color scheme of the Roman Rite, which aligns directly with the seasons and major feasts of the church calendar to visually underscore the liturgical themes. White, symbolizing purity and joy, is used during the Christmas and Easter seasons, as well as for feasts of the Lord (excluding those of the Cross), Our Lady, and non-martyr saints.^[27] Red, representing the Holy Spirit, martyrdom, and the blood of Christ, is worn for Pentecost Sunday, confirmations, and feasts of martyrs or apostles.^[27] Violet (or purple), denoting penance and preparation, corresponds to Advent and Lent, while green signifies hope and growth during Ordinary Time.^[27] Rose serves as a brighter alternative on Gaudete Sunday (third Sunday of Advent) and Laetare Sunday (fourth Sunday of Lent), offering a momentary respite in penitential seasons.^[27] This color system was historically standardized in the Roman Missal of 1570 promulgated by Pope St. Pius V, which formalized the use of white, red, violet, green, and black as the primary liturgical colors for vestments including the cope, building on earlier practices from the 12th century onward.^[28] Prior to reforms, exceptions included black for funerals and All Souls' Day, reflecting mourning and the somber nature of these observances, as this was the sole color permitted for such Masses in the pre-1969 Roman Rite.^[29] Following the Second Vatican Council, the 1969 revisions under Pope Paul VI simplified the palette to emphasize the four principal colors—white, red, violet, and green—while retaining rose for specific Sundays and allowing gold or silver as festive alternatives to white during Christmas and Easter.^[30] For funerals and Masses for the Dead, violet became an option alongside white (preferred for its resurrection symbolism) and black, reducing the mandatory use of black but preserving traditional flexibility in cope colors.^[31] These changes aimed to streamline vestment production and adapt to contemporary sensibilities, though many communities continue to employ the full historical range for solemnities.^[32]

Usage in Christian Traditions

Catholic Church

In the Roman Catholic Church, the cope serves as a key vestment for non-Eucharistic liturgical celebrations, including processions, blessings at the altar such as the Benediction of the Blessed Sacrament, solemn Lauds and Vespers, and other rites like the absolution over a catafalque or the solemn prayers on Good Friday, as specified in the 1960 Code of Rubrics promulgated by Pope John XXIII.^[33] This code outlined the cope's role in enhancing the solemnity of these actions without the maniple, emphasizing its use by the celebrant or assisting clergy in pontifical Masses.^[33] A distinctive variant, the cappa magna—a long, train-bearing cope often lined with silk—was traditionally employed for highly solemn occasions, including papal liturgies and cathedral processions, until the 1969 Instruction Ut sive sollicite from the Papal Secretariat of State imposed restrictions.^[34] Under these norms, the cappa magna became non-obligatory, permitted only outside Rome in circumstances of exceptional solemnity, and required to omit ermine trim to align with post-Vatican II principles of restraint.^[34] Similarly, the papal mantum, an elongated cope reserved exclusively for the pope and featuring a prominent train symbolizing authority, was last used by Pope Paul VI but fell into complete disuse following the liturgical reforms of the Second Vatican Council, reflecting a shift toward more modest papal attire.^[35] Post-1970 adaptations further streamlined the cope's application, with the General Instruction of the Roman Missal (third typical edition, 2002) directing its use by priests in processions and other sacred actions as per specific rubrics, while promoting "noble simplicity" in vestment design to avoid ostentation.^[36] This emphasis, rooted in Sacrosanctum Concilium (no. 34), prioritizes dignity and accessibility over elaborate ornamentation in contemporary Catholic liturgy.

Anglican and Protestant Denominations

In the Anglican Communion, the cope serves as a key ceremonial vestment, particularly in processions and non-Eucharistic liturgies such as Evensong, where it is worn over an alb with stole or a surplice with tippet to signify solemnity.^[3] Its use extends to high-church settings during Eucharists, often by assisting clergy or in processional elements, continuing a tradition authorized in the 1549 Book of Common Prayer for cathedral and collegiate churches.^[37] Notably, at the coronation of King Charles III in 2023, the Dean of Westminster wore a crimson cope, while the Canons of Westminster donned white and gold copes during the service at Westminster Abbey.^[20] Within Lutheranism, especially in high-church synods like the Lutheran Church–Missouri Synod, the cope is employed for processions and solemn non-Eucharistic services, reflecting a commitment to historic liturgical practices without mandatory prescription.^[38] This usage aligns with broader confessional standards allowing ceremonial vestments. In low-church Lutheran settings, however, the cope remains optional and infrequently used, prioritizing simplicity in worship attire. Post-16th-century Reformation, the cope's adoption in other Protestant denominations exhibits significant diversity, underscoring a spectrum from austere to ceremonial worship forms.

Eastern Orthodox Church

In the Eastern Orthodox Church, the cope, known as the pholonion (for bishops) or epitrachelion in related forms, is a liturgical vestment worn by clergy during processions, vespers, and other non-divine liturgy services. It consists of a large, semicircular garment with an orarion (stole) and emphasizes the deacon's or priest's role in solemn rites, often richly embroidered to reflect theological symbolism.^[39]

Secular and Ceremonial Adaptations

Academic Dress

The adaptation of the cope into academic dress traces its origins to the medieval clerical garment known as the cappa clausa, a closed cloak mandated for secular clergy in England by Archbishop Stephen Langton at the Council of Oxford in 1222.^[40] This outer garment, worn over everyday clerical attire, was enforced at early universities like Oxford and Cambridge, where scholars were predominantly clerics, evolving into a distinctive form of academic regalia to signify scholarly rank and authority.^[40] By the 14th century, the cappa clausa had become a formal habit for university doctors, reflecting the intersection of ecclesiastical and educational traditions.^[41] At the University of Cambridge, the scarlet cappa clausa remains a preserved element of academic dress, particularly for doctors of divinity, medicine, and law, worn as a full-dress garment on scarlet days and formal occasions.^[40] This sleeveless, voluminous cloak, often lined with fur or silk, underscores the university's retention of medieval forms, distinguishing it from more modern open-fronted gowns.^[41] In contrast, at the University of Oxford, the cappa clausa influenced the development of the Convocation habit, a scarlet sleeveless mantle worn over the undress gown by select doctors during degree congregations and official university events.^[41] Modern usage of cope-derived academic garments persists in ceremonial processions at UK institutions, such as Oxford's Encaenia, where doctors don the scarlet Convocation habit to mark graduations and honor academic achievements.^[42] These processions highlight the garment's role in formal academic pageantry, evoking medieval scholarly assemblies.^[41] Unlike liturgical copes, which follow seasonal colors tied to the church calendar, academic adaptations like the cappa clausa employ fixed, non-liturgical hues such as scarlet for distinction or black for everyday use, emphasizing institutional identity over theological symbolism.^[40] The closed design of the cappa clausa further differentiates it from the open-fronted liturgical cope, prioritizing practicality for processional movement while maintaining a mantle-like silhouette.^[41]

Other Non-Liturgical Contexts

In European royal traditions, cope-like mantles were adapted for coronation ceremonies from the 12th to the 19th centuries, drawing direct inspiration from the semicircular form and symbolic protective qualities of ecclesiastical copes. These garments symbolized the sacred authority of monarchy, blending liturgical influences with secular regalia to emphasize divine right and imperial continuity.^[43] A prominent early example is the Mantle of Roger II, created in 1133–1134 in the royal workshops of Palermo, Sicily, for the Norman king Roger II. This semicircular silk robe, woven in samite with gold thread embroidery depicting lions and palm trees, was designed in imitation of clerical copes but adapted for royal use, later entering the Holy Roman Empire's regalia through familial ties and serving in imperial coronations.^[44] Similarly, the 11th-century Star Mantle associated with Holy Roman Emperor Henry II and the Coronation Mantle of King Stephen I of Hungary (circa 1031, though used into later centuries) originated as ecclesiastical vestments like chasubles or copes before being repurposed for royal investitures, featuring rich embroidery and heraldic motifs to convey both spiritual and temporal power.^[43] By the later medieval and early modern periods, such adaptations persisted across Europe. The Imperial Mantle of the Holy Roman Empire, a cope-derived garment embroidered with eagles and biblical scenes, was worn in coronations through the 18th century, underscoring the enduring fusion of priestly and princely symbolism.^[43] In Britain, the Supertunica and Imperial Mantle—both semicircular robes with origins in the cope—were central to coronations, as seen in the 1821 ceremony for George IV, where the mantle of cloth of gold, adorned with national emblems like roses and thistles, was donned post-anointing to signify royal sanctity. This tradition continued into the 19th century, with the garment's design remaining largely unchanged from medieval precedents.^[45] Rare non-Christian parallels exist in other traditions, such as the Japanese haori, a lightweight jacket worn over kimono during ceremonial processions, weddings, and festivals, providing a similar outer layer for protection and formality without direct equivalence to the cope's liturgical form. Introduced in the 15th century and essential to men's attire by the Edo period, the haori features wide sleeves and a sash, often in silk for elevated events like coming-of-age ceremonies.^[46]

References

[1]
Cope, E. D. (Edward Drinker), 1840-1897 | Archives Catalog | AMNH
Edward Drinker Cope (1840-1897) was an early and well-known paleontologist who discovered around one thousand species of extinct vertebrates in the United ...
[2]
Edward Drinker Cope | Smithsonian Institution Archives
Before his death on April 12, 1897, Cope managed to establish himself as a great paleontologist, contributing more than 1, 300 papers and 600 species to science ...
[3]
O.C. Marsh and E.D. Cope: A Rivalry | American Experience - PBS
Othniel Charles Marsh and Edward Drinker Cope, former friends turned competing paleontologists, began scouring the American West for prehistoric fossil deposits ...
[4]
E.D. Cope
Edward Drinker Cope was an American paleontologist and evolutionist. He was one of the founders of the Neo- Lamarckian school of evolutionary thought.
[5]
cope - American Heritage Dictionary Entry
2. To provide with coping: cope a wall. [Middle English cope, from Old English -cāp, from Medieval Latin cāpa, cloak, from Late Latin cappa.]
[6]
Cape - Etymology, Origin & Meaning
late Old English cæppe "hood, head-covering, cape," a general Germanic borrowing (compare Old Frisian and Middle Dutch kappe, Old High German chappa) from Late ...<|control11|><|separator|>
[7]
An Etymological Dictionary of the German Language/Annotated/Kappe
Sep 13, 2023 · Kappe, feminine, 'hood, cowl'; the meaning Middle High German kappe, feminine, upon which it is based, does not correspond very often with that of Modern High ...
[8]
Cappa Pluvialis - 1910 New Catholic Dictionary - StudyLight.org
Latin: cappa, cape; pluvia, rain) Long liturgical mantle, open in front, fastened at the breast with a clasp or morse; made of silk or cloth, ...<|separator|>
[9]
Cope | Catholic Answers Encyclopedia
Cope (known in Latin as pluviale or cappa), a vestment which may most conveniently be described as a long liturgical mantle, open in front and fastened at the ...
[10]
Ecclesiastical Vestments: Their Development and History. By ...
This book covers the development and history of ecclesiastical vestments, their use across Christian churches, and their evolution from Roman costume.
[11]
[PDF] Ecclesiastical Vestments - Wesley Scholar
orphrey on that vestment. The shape and ... The morse,' or brooch , with which the cope was ... hood of the cope, on mitres, and on rationals or.
[12]
Cope | The Art Institute of Chicago
Saint Paul is depicted on the hood, which rests on the back of the cope, while an image of God holding an orb decorates the morse, or closure. The brown-velvet ...
[13]
CATHOLIC ENCYCLOPEDIA: Cope - New Advent
A vestment which may most conveniently be described as a long liturgical mantle, open in front and fastened at the breast with a band or clasp.
[14]
[PDF] Kings and Copes: Religious Textiles at the Courts of James IV and ...
James IV and V collected vestments, altar hangings, and other liturgical textiles, including copes, made of velvet, taffeta, and cloth of gold.
[15]
Cope
Mar 12, 2017 · The cope was not a sacerdotal, liturgical garment, but a processional vestment. The word derives from medieval Latin cappa. It is is a garment ...
[16]
The Cope-Norris - Ecclesiastical Sewing
Oct 14, 2016 · The cope has its origins in ancient garments. The Cope–Norris, unlike other vestments, is a bit of a mystery. With an unknown origin, its ancestor could be ...
[17]
Cope of the Order of the Golden Fleece - Textile Research Centre
Feb 5, 2017 · As with other or nué garments, the vestment has a linen ground material and is decorated with gold thread embroidery couched down with silk ...
[18]
Rare Survivals: A Green Cope from the 1500's - Liturgical Arts Journal
Aug 21, 2025 · This particular cope has Italo-German origins. The velvet is likely Italian, while the embroidered orphreys and shield are thought to be German ...
[19]
The best fabrics for sacred art and vestments - Cimmino
Finally, we find the polyester blend, an elastic and very resistant material that does not require special attention. In Europe, the ecclesiastical garments ...
[20]
https://www.westminster-abbey.org/history/explore-our-history/vestments-and-frontals/
[21]
A Fifteenth Century English Cope - Liturgical Arts Journal
Feb 6, 2024 · This particular cope which we are looking at today comes from fifteenth century England. It's design represents a more classically medieval approach than a ...
[22]
Vestments and frontals - Westminster Abbey
This ancient English custom was revived at the Abbey in 1921. Copes, or semi-circular full length cloaks fastened at the neck, are worn by the Dean and clergy ...Vestments And Frontals · Copes · Altar Hangings
[23]
History of Vestments (Part II) - National Altar Guild Association
In the 1549 Book of Common Prayer, Archbishop Thomas Cranmer mandated only these vestments: a blousoned cassock, amice, surplice, alb (some being a full seven ...Missing: decline | Show results with:decline<|separator|>
[24]
Understanding the Cope: A Symbol of Liturgical Heritage
Oct 2, 2024 · A cope is a ceremonial garment, a full-length, semi-circular cloak, used in Christian denominations, and a symbol of clergy dignity and ...
[25]
Old Habits Die Hard: Vestimentary Change in William Durandus's ...
The cope symbolizes the duality of materiality and spirituality, reflecting broader cultural anxieties about ecclesiastical dress.
[26]
https://www.liturgicalartsjournal.com/2023/10/thoughts-on-origins-of-monastic-style.html
[27]
Thoughts on the Origins of the Monastic Style Cope of the Early ...
Oct 13, 2023 · It served as an outer garment to protect from the cold and elements, especially during processions. Over time, the hood would come in many ...
[28]
Understanding the Liturgical Colors | USCCB
Other liturgical colors not represented on this calendar include rose (Third Sun. of Advent and Fourth Sun. of Lent), black (Masses for the Dead), and gold or ...
[29]
Liturgical Colors in Holy Week - ePriest
Mar 4, 2023 · But a common criterion for the use of the various colors is not found until around 1550, and was not formally defined in rubrics until 1570, in ...
[30]
Requiems: liturgical colour - Church Times
Jan 27, 2017 · Black is the most traditional, being the only colour permitted in the Roman Rite until the mass of Paul VI. It is a traditional colour of mourning in the West.
[31]
The colours of the Catholic liturgy and their meaning - Holyart.com
Mar 7, 2017 · There are four liturgical colours used that were coded by Paul VI in the Roman rite in 1969: white, green, red and purple.
[32]
General Instruction of the Roman Missal - The Holy See
Mar 17, 2003 · ... Caeremoniale Episcoporum should be observed.[92]. 113. Great importance should also be attached to a Mass celebrated with any community, but ...
[33]
Liturgical Colors (Color Canon) - PrayTellBlog
May 19, 2018 · These liturgical colors are known to him: white, red (scarlet), black, purple, green, and saffron yellow.
[34]
1960 General Rubrics
### Summary of the Use of the Cope (Casula) in the 1960 Code of Rubrics
[35]
[PDF] Instruction on the dress of cardinals, bishops and other prelates ...
12. The cappa magna, always without ermine, is no longer obligatory; it can be used only outside Rome, in circumstances of very special solemnity. 13. The ...
[36]
Unused or Unseen Papal Vesture and Vestments
Sep 5, 2019 · One of the most familiar of the unused items of papal vesture is of course the tiara or “Triregnum.” It remains a familiar symbol of the papacy ...Missing: disused | Show results with:disused
[37]
Chapter VI: The Requisites for the Celebration of Mass | USCCB
341. The cope is worn by the Priest in processions and during other sacred actions, in accordance with the rubrics proper to the individual rites. 344. It is ...
[38]
https://ctsfw.net/media/pdfs/PiepkornLutheranVestmentPractices.pdf
[39]
Anglican Vestments: A Rookie Anglican Guide
Aug 21, 2018 · A cope is, simply speaking, a cape, and can be worn over an alb and stole, surplice and stole, or surplice and tippet during a service. And, ...<|control11|><|separator|>
[40]
The Cope. - The Roman Anglican
Sep 21, 2015 · In Italian we call it “piviale” from the Latin word “pluviale” which means rain coat, as the cope originates as an outdoor garment for priests, ...<|separator|>
[41]
[PDF] CONCORDIA THEOLOGICAL MONTHLY
Clergymen of that body and of the Augustana Evangelical Lutheran Church are most likely to wear Eucharistic vestments; in isolated instances congrega- tions of ...
[42]
Official notice: 2023 LCMS convention - LCMS Reporter
Jun 13, 2022 · The 68th Regular Convention of The Lutheran Church—Missouri Synod will be held July 29–Aug. 3, 2023, at the Wisconsin Center in Milwaukee.Missing: cope vestment
[43]
[PDF] MINISTERIAL GARB AND VESTMENTS - UMCSC.org
It is a symbol of ordination worn by clergy while officiating in a service, sometimes thought to signify the yoke of Christ, and also representing the ...<|control11|><|separator|>
[44]
History - The Burgon Society
Academic dress originated from medieval tunics and cloaks. The closed cloak was enforced, then the tunic evolved into the gown. The hood was retained, and the ...
[45]
"The Oxford Convocation Habit" by Alex Kerr - New Prairie Press
The Convocation habit in its modern form is a sleeveless garment worn by certain doctors on certain, now fairly rare occasions at Oxford.Missing: cope | Show results with:cope
[46]
Academic Dress | University of Oxford
The form of academic robes worn at Oxford can be traced back to the coats and ecclesiastical robes of medieval Europe, when dress marked the rank and ...Missing: clerical cappa clausa<|control11|><|separator|>
[47]
Information About Academic Gowns
Academic gowns are descended from the cappa clausa (closed cloak) of the clergy who taught at early medieval universities and whose garments were ...
[48]
https://brill.com/display/book/9789004352162/BP000012.pdf
[49]
Mantle of Roger II (Coronation Mantle) - Smarthistory
This was made in the 12th century in Sicily, actually, in the royal workshops of Roger II, who was a Norman that ruled. Now, the Normans, you might remember, ...Missing: copes | Show results with:copes
[50]
Imperial Mantle (UK)
Apr 25, 2017 · The design is based on earlier mantles and has its origins in a priestly garment (cope). Its form has not changed much since the medieval ...Missing: history | Show results with:history
[51]
Stagecraft - Medieval Costume, Design, Performance | Britannica
Tableaux vivant and mimes were performed in costumes similar to those worn in the mystery and morality plays. With the gradual decline of church power and the ...
[52]
Renaissance Costumes, Medieval Clothing, Madrigal Costumes by ...
Founded in 2001, The Tudor Shoppe provides reproduction Tudor Era (1485-1603) Renaissance and medieval clothing and Elizabethan costumes to individuals, stage ...
[53]
Haori and Hakama: Japanese Traditional Clothing Items - MATCHA
Apr 15, 2022 · Haori with crests are worn for example by the groom at his wedding, at coming-of-age ceremonies, graduation ceremonies and the like. If the ...