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See also:COPE (M.E. cape, cope, from Med. See also:Lat. capa, cappa)
, a liturgical vestment of the Western See also: 4), and this again, losing its pointed tip in the 17th century, See also:expanded in the 18th into a flap which was sometimes enlarged so as to See also:cover the whole back down to the See also:waist . In its See also:general effect, however, a cope now no longer suggests a " waterproof." It is sometimes elaborately embroidered all over; more usually it is of some See also:rich material, with the See also:borders in front and the hood embroidered, while the morse has given occasion for some of the most beautiful examples of the See also:goldsmith's and jeweller's See also:craft (see Plate II., See also:figs . 5, 6) . The use of the cope as a liturgical vestment can be traced to the end of the 8th century: a pluviale is mentioned in the See also:foundation See also:charter of the monastery of Obona in See also:Spain . Before this the so-called cappa choralis, a See also:black, See also:bell-shaped, hooded vestment with no liturgical significance, had been worn by the secular and See also:regular clergy at See also:choir services, processions, &c . This was in its origin identical with the See also:chasuble (q.v.), and if, as See also:Father Braun seems to prove, the cope See also:developed out of this, cope'and chasuble have a common source.' Father Braun cites numerous inventories and the like to show that the cope (pluviale) was originally no more than a more elaborate cappa worn on high festivals or other ceremonial occasions, sometimes by the whole religious community, sometimes—if the stock were limited—by those, e.g. the cantors, &c., who were most conspicuous in the ceremony . In the loth century, partly under the See also:influence of the wealthy and splendour-loving community of See also:Cluny, the use of the cope became very widespread; in the 11th century it was universally worn, though the rules for its See also:ritual use had not yet been fixed . It was at this See also:time, however, See also:par excellence the vestment proper to the cantors, choirmaster and singers, whose See also:duty it was to sing the invitatorium, responses, &c., at See also:office, and the introitus, graduale, &c., at See also:Mass . This use survived in the ritual of the pre-See also:Reformation Church in See also:England, and has been introduced in certain See also:Anglican churches, e.g . St See also:Mary Magdalen's, See also:Munster Square, in See also:London . By the beginning of the 13th century the liturgical use of the cope had become finally fixed, and the rules for this use included by See also:Pope See also:Pius V. in the Roman See also:Missal and by See also:Clement VIII. in the Pontificale and Caeremoniale were consequently not new, but in accordance with See also:ancient and universal See also:custom . The substitution of the cope for the chasuble in many of the functions for which the latter had been formerly used was primarily due to the See also:comparative convenience of a vestment opened at the front, and so leaving the arms See also:free .
A natural conservatism preserved the chasuble, which by the 9th century had acquired a symbolical significance, as the vestment proper to the celebration of Mass; but the cope took its See also:place in lesser functions, i.e. the censing of the See also:altar during the Magnificat and at Mattins (whence the See also:German name Rauchmantel, See also:smoke-mantel), processions, See also:solemn consecrations, and as the See also:dress of.bishops attending synods
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It is clear from this that the cope, though a liturgical, was never a sacerdotal vestment
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If it was worn by priests, it could also be worn by laymen, and it was never worn by priests in their sacerdotal, i.e. their sacrificial, capacity
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For this See also:reason it was not rejected with the "Mass See also:vestments " by the See also:English Church at the Reformation, in spite of the fact that it was in no ecclesiastical sense " See also:primitive." By the First See also:Prayer-See also:book of See also:Edward VI., which represented a See also:compromise, it was directed to be worn as an alter-native to the " vestment " (i.e. chasuble) at the celebration of the Communion; this at least seems the See also:plain meaning of the words " vestment or cope," though they have been otherwise interpreted
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In the Second Prayer -book vestment and cope alike disappear; but a cope was worn by the See also:prelate who consecrated See also:Archbishop See also:Parker, and by the " gentlemen " as well as the priests of See also:Queen See also: The isnmantatio See also:fell out of use during the papal See also:exile at See also:Avignon ' This derivation, suggested also by Dr Legg (Archaeol . See also:Journal, 51, p . 39, 1894), is rejected by the five bishops in their See also:report to See also:Convocation (1908) . Their statement, however, that it is " See also:pretty clear " that the cope is derived from the Roman lacerna or birrus is very much open to See also:criticism . We do not even know what the See also:appearance and form of the birrus were; and the question of the and was never restored. origin of the cope is not whether it was derived from any garment of the time of the Roman See also:Empire, and if so from which, but what It will be convenient here to See also:note other vestments that have garment in use in the 8th and 9th centuries it represents . I developed out of the cappa . The cappa choralis has already been mentioned; it survived as a choir vestment that in See also:winter took the place of the See also:surplice, See also:rochet or See also:almuce . In the 12th century it was provided with arms (cappa manicata), but the use of this form was forbidden at choir services and other liturgical functions . From the hood of the cappa was developed the almuce (q.v.) . At what date the cappa choralis developed into the cappa magna, a non-liturgical vestment See also:peculiar to the pope, cardinals, bishops and certain privileged prelates, is not known; but mention of it is found as See also:early as the 15th century . This vestment is a loose robe, with a large hood (lined with fur in winter and red See also:silk in summer) and a See also:long See also:train, which is carried by a cleric called the caudatarius . Its See also:colour varies with the hierarchical See also:rank of the wearer: red for cardinals, See also:purple for bishops, &c.; or, if the dignitary belong to a religious See also:order, it follows the colour of the See also:habit of the order . The right to See also:wear a See also:violet cappa magna is conceded by the popes to the chapters of certain important cathedrals, but the train in this See also:case is worn folded over the See also:left See also:arm or tied under it . It may only be worn by them, more-over, in their own church, or when the See also:chapter appears elsewhere in its corporate capacity . Lastly, from the cappa is probably derived the mozzetta, a See also:short cape with a See also:miniature hood, fastened down the front with The buttons . The name is derived from the Italian mozzetta. mozzare, to cut off, and points to its being an abbrevi- ated cappa, as the episcopal See also:apron " is a shortened See also:cassock . It is worn over the rochet by the pope, cardinals, bishops and prelates, the See also:colours varying as in the case of the cappa magna . Its use as confined to bishops can be traced to the 16th century . See See also:Joseph Braun, S . J., See also:Die liturgische Gewandung (See also:Freiburg See also:im See also:Breisgau, 1907); also the bibliography to the article VESTMrNTS . (W . A . |
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