Outer Garments: Copes, Cloaks and Mantles

CHAPTER 2 Outer Garments: Copes, Cloaks and Mantles

Introduction was very much the province of the highest ranks, secular or ecclesiastical, in Europe. The cope is a form of vestment which has changed very In its ecclesiastical history the earliest use of the little over the centuries. It originated (like the chasuble, cope seems to have been as a hooded garment worn see chapter 3) from a Roman garment, the earliest form by monks and priests in church, probably for warmth of which was not particularly grand, called the paenula. and for protection against the weather. The Catholic This was a semi-circular cloak, open down the front, Encyclopedia notes some interesting eighth- to ninth- worn as everyday clothing by the ordinary citizen, and century mentions of a garment called a cappa (still an apparently by women and the upper classes as a pro- alternative name for a cope) which make clear that tection from the weather when travelling. This latter some were indeed everyday cloaks, others more suit- version could be made of splendid rather than merely able for liturgical wear – and in one instance that the practical material, and it was this which gradually, in garment called by some a cuculla (cowl) was the same fact very slowly, became part of ecclesiastical dress, and as that called by others a cappa, and was part of monas- even more slowly developed a ceremonial use. Because tic dress.1 This casts an interesting light on the ultimate of its originally protective function it was usually volu- origins of the Franciscan cowl of later centuries (see the minous, so that it could be wrapped around the body cowl of St Francis of Assissi, 4.4). The cope was, and still if necessary, and in all its later versions it retained this is, also sometimes known as a pluviale, from its history all-covering form. The earliest versions adapted for ec- as a garment that protected from the rain (Latin pluvia). clesiastical use still incorporated a hood, which in the The early monastic version was usually a black woollen ceremonial version became a mere appendage or insert cloak. Even in later centuries, cope-like garments were of a stiffened, usually decorative, material at the back of worn at service but not as liturgical dress and indeed the neck, below the orphrey which usually delineated are sometimes called choir copes (in German called the the neck and front opening. The term ‘mantle’ is now chormantel), although these could be quite splendid.2 It used of the secular garment and ‘cope’ of the ecclesiasti- appears to have been as late as the eleventh or twelfth cal counterpart, but originally there was no difference century before the cope, usually in such richer materials, between the secular and ecclesiastical garment and was in general use in church ceremonies, and even then individual examples crossed the boundaries between it was not the prerogative of the higher echelons, but ownership by wealthy secular persons and Church use, could be worn by all clergy instead of the chasuble on passing as gifts or bequests. The relationship with the occasions when processions were an important part of secular mantle is therefore very close, and this means the ceremony.3 Strictly it is not a liturgical vestment, as that it is not always easy to distinguish the original func- it is never worn by priests when officiating at the mass. tion of a surviving garment. The mantle of Otto IV (2.5) could have been a royal mantle, but there is nothing in its decoration to preclude either a secular or ecclesias- 1 H. Thurston, ‘Cope’ in The Catholic Encyclopedia, vol. IV (New York: tic intention in its design. On the other hand, it is pos- The Encyclopedia Press , 1908), 351–2; https://archive.org/details/ catholicencyclop04herbuoft accessed 7 April 2016. Joseph Braun, sible to argue quite strongly that the Blue Mantle of St Die liturgische Gewandung im Occident und Orient (Freiburg im Kunigunde (2.7) was intended as a cope from the start, Breisgau; St Louis, MO: Herder, 1907), 306–58; Pauline Johnstone, and the connection of the queen/saint could have been High Fashion in the Church. The place of church vestments in the as a patron. The mantle of Fernando de la Cerda (2.6) history of art from the ninth to the nineteenth century (Leeds: stands out in this collection as the only piece which is Maney, 2002), 11. not (however rich the ground fabric) principally deco- 2 See for example the Chormantel of St Kunigunde, originally rated with embroidery. It is made of the same brocaded* early eleventh-century; Tanya Kohwagner-Nikolai, ‘Weisser silk, decorated with heraldic motifs¸ as several other gar- Chormantel der hl. Kunigunde’ in Norbert Jung and Holger Kempkens, ed., Gekrönt auf Erden und im Himmel – das heilige ments in Fernando’s tomb; and is of particular interest Kaiserpaar Heinrich II. und Kunigunde, Exhibition Catalogue, as an example of silk made in, and fashionable in, north- Reihe Veröffentlichungen des Diözesanmuseums Bamberg, Band ern Spain in the thirteenth century. Nevertheless, the 26 (Münsterschwarzach: Vier-Türme-Verl., 2014), 64–66, cat. II.3. preponderance of rich embroidery, an expensive tech- 3 See for example New York, Morgan Library and Museum, nique, especially when made of silk and gold threads, MS M.146 fol. 141v; Missal, France, possibly Angers, c. 1427;

The cut of the cope is similar to that of the earliest (2.5), as mentioned above, is not easy to classify), but all manifestation of the chasuble, the so-called ‘bell’ cha- exemplify the ceremonial importance of the form (see suble, but, unlike the chasuble, a cope is not seamed General Introduction, p. 00), showing that this was not down the front. Because of the front opening, some form only an ecclesiastical characteristic. All have the same of fastening was needed to stop it from sliding off the semi-circular shape and the rich materials of the eccle- wearer’s shoulders. This was supplied in the form of a siastical counterparts: the only difference is that they morse, a rectangular piece of material or a metal clasp were possibly secured on the shoulder, though again by of the same shape, attached to the two front edges of a brooch-type fastener which might itself be made of the cope each side with some form of hook-and-eye. expensive and showy materials – and on formal public Both textile and metal versions were usually highly or- occasions the central fastening was most likely used. namented, with embroidery and/or jewels, sometimes Examples here are the ‘Star Mantle’ of Henry II, which with elaborate tassels: they were a very visible element became the subject of two bequests, one following al- in wear. Morses were often stored and listed in invento- most immediately upon the other; the first implying it ries separately from the garment, among the treasures of was intended to be worn by the Emperor, the second that their church. it was passed on very quickly for ecclesiastical use (2.1). Here four examples of copes are included. The ear- It is clear that all here were used by kings and emperors liest, 2.7, the Blue Mantle of St Kunigunde, is called a as royal or imperial insignia and for imperial ceremonies mantle (see above), but there is nothing secular in its which had a sacred element, especially coronations (see decoration, so though an early example of the rich type General Introduction, p. 17). of which important churches had many, it is certainly Even in the case of the Mantle of Otto IV (2.5), the a cope and not an article of secular dress. It is never- evidence of some kind of appeal to an imperial and/or theless particularly interesting for its close connection royal connection is very clear in its decoration – includ- with an imperial mantle, the ‘Star Mantle’ attributed to ing in this case a link with England. The importance of Kunigunde’s husband, the Emperor Henry II (2.1). Both imperial/royal iconography as propaganda is apparent are of similar date and the embroideries of each are like- in several pieces, for example in the use of heraldic mo- ly to have been made in the same workshop. tifs in the case of the Mantle of Fernando de la Cerda Two others are important examples of the develop- (2.6); and even more strongly in the mantle of Philip of ment of the rich embroidery for which England became Swabia (2.4), the ‘Star Mantle’ of Henry II (2.1) and the famous, called opus anglicanum. The two examples Coronation Mantle of King Stephen of Hungary (2.2). The chosen (the Syon cope of 1300–20 (2.8), and the Butler- mantle of Roger II of Sicily (2.3) is different in its iconog- Bowdon Cope of 1330–50 (2.10), though not too far apart raphy, although it shares with the ‘Star Mantle’ the use of in date, illustrate two of the three main style periods of astrological motifs. The most important power structure opus anglicanum. The Hildesheim Cope (No. 2.9) was celebrated in these garments is the Holy Roman Empire: chosen because it is the same date as the Syon Cope, Roger’s mantle ended in the Imperial treasury because and shows some evidence of influence from the exactly Roger’s grandson became Emperor; Henry II and Otto contemporary style of English work, but it was made in IV were Emperors; Philip of Swabia was Otto’s rival for a German workshop and in many ways shows a very dif- the role; Kunigunde was the wife of Emperor Henry II; ferent taste, in its palette, pictorial style and embroidery Gisela, wife of Stephen of Hungary, was his sister. technique, demonstrating that other schools of em- Other contrasts and connections are shown up in broidery design flourished confidently throughout this the embroidery styles: opus anglicanum has already period. been mentioned (above and p. 19); the embroidery The first six pieces in the section fall into the category of the Hildesheim cope is in a style of counted thread of the secular mantle (with the proviso that at least one embroidery which was more characteristic of Germany and Switzerland, as will be seen in the study of albs and https://www.google.co.uk/search?q=medieval+manuscript+De minor vestments (Chapters 4 and 8). The ‘Star Mantle’ pictions+of+clergy&biw=1920&bih=969&tbm=isch&imgil=6sra of Henry II, the Blue Mantle (more probably cope) of O7w1uLk1fM%253A%253BpP1WQGQFuPUvTM%253Bhttp%25 St Kunigunde, and the Coronation Mantle of Stephen 253A%25252F%25252Fblogs.getty.edu%25252Firis%25252Fwhy- of Hungary share similarities in embroidery technique arent-people-eating-in-medieval-depictions-of-feasts%25252F& and also in iconography which could suggest they had source=iu&pf=m&fir=6sraO7w1uLk1fM%253A%252CpP1WQGQ FuPUvTM%252C_&usg=__sWqytlJ9ZY_L2NSAQubGbqc3fhU% a common origin. The Mantle of Roger II is interesting 3D&ved=0ahUKEwiD6q_w1vzLAhVC2Q4KHSSWAiMQyjcIRg& because both its embroidery and its iconography dem- ei=y2YGV8PYM8KyO6SsipgC#imgrc=c4BLOnbcKVxmOM%3A onstrate the eclectic influences, Islamic and Christian, accessed 7 April 2016. of Norman Sicily. The iconography of the mantle of