THE NEW SCHAFF-HERZOG
this is kissed by the priest when he assumes the vestment. (2) The Alb is identical with the light tunic of antiquity, more precisely with the white tunic with sleeves (tunica manicata) which came down to the feet (tunica talaris, poderis, Gk. podérés, chiton). Even into the Carolingian period this was ordinarily worn by the clergy as a part of the ordinary dress. The exclusion of the tunic from daily use raised the alb to the dignity of a specific liturgical garment. Apart from its cut and color, its origin is recalled by the strips of purple or of cloth of gold which were sewed on (clavi, lorum; hence the names albe monolores, dilores, trilores), with other ornamental pieces of colored stuffs (parature, parure), in the form of a square or an oblong; as there were five of these, a connection was found with the five wounds of Christ (cf. the designations plage, plagule). In addition, further ornamentation, even complete pictures, came to be applied. After the sixteenth century a strong reaction set in; laces and edgings came into use. Recently linen lace is required and linen is also prescribed for the garment itself. The alb is worn by the clerics ranking not lower than subdeacon. [The symbolism is purity and innocence.] (3) The Cincture (cingulum, cinctorium, balteus) is required by the form of the alb. Linen is preferred, although wool and silk are not excluded. In the Middle Ages the cincture was often a splendid decoration of the higher clergy, and was richly ornamented with gold, silver, and precious stones. (4) The Maniple (mappula, manipulus, fanon) is a narrow strip of material similar to the stole (see below), worn over the left forearm or upper arm; formerly, the ends hung down freely, now, however, they are sewed together. The material was originally linen, but at present it is the same as that of the chasuble (see below). The rich ornamentation of the maniple usual in the Middle Ages, when it was longer, has now almost disappeared. Not more than three crosses are required, while one satisfies the rubric. It is worn by bishops, priests, deacons, and subdeacons, and, as a rule, only during the office of the mass. The origin of this vestment, the liturgical use of which can be proven from the eighth or ninth century, is not certain. It is commonly regarded as having been originally a handkerchief; recently an attempt has been made to connect it with the arm-bands worn by the assistants at the heathen sacrifices. [The symbolism is strength, endurance.] (5) The Stole (orarium) is a long narrow strip of fabric, which, hanging from the neck, falls down right and left over the breast. During the celebration of mass, the bands are crossed in front, the bishop alone wears them hanging parallel; the deacon, who may wear the stole at greater functions, may only bear it on the left shoulder. The material is usually the same as that of the chasuble. The ornament tion was generally confined to embroidered Latin crosses; in the episcopal stoles, however, it was often very elaborate. The little bells which are sometimes found on the lower edge are based on Ex. xxviii. 33 sqq. The name stola, which was introduced only at a later period and does not apply to the article, obscures its origin, since this name designated an
article of female apparel. The parallel orariwmsudarium shows clearly that the stole comes from the handkerchief which was worn around the neck or the arm in ancient times. [The symbolism is patience.] (6) The Chasuble, the special priestly vestment for the mass, was at first a long sleeveless mantle provided with an opening in the center to admit the head. It was originally worn in ancient times by people of the lower orders, but it gradually found entrance into other circles and so reached the monks and the clergy. The historical development of the alb raised this article, about the begining of the Middle Ages, to the rank of an exclusively liturgical garment for the priesthood, after it had been used for a time in other than clerical circles. This dedication to liturgical purposes necessitated some modifications; for instance, the mantle was shortened, and it was provided with drawing-strings and slits at the sides. During and after the Renaissance the chasuble was deformed into the present tasteless, stiff, bass-viol form, so that both parts, loosely connected, lay on the breast and the back. In the earlier Middle Ages wool was almost exclusively the material. The influence of Gothic art led to the more frequent use of silk and this became the rule in the fifteenth century. In the beginning white was in general use, but gradually a gradation of colors for various times and festivals was established (see SympBouism, Ecciestasticat, II., § 7). The ornamentation was confined in older times to a band edging the head-opening and running down on breast and back. Additions were the furcated cross, leaf patterns, armorial bearings, figures, and scenes. Hand in hand with this went the costly decoration with gold, silver, and jewels. The chasuble now in common use is distinguished by a Latin cross on both sides. Common fabrics—linen, cotton, or especially coarse woolen stuffs—are now forbidden. [The symbolism is charity.] (7) The Cope (Pluvial) was in antiquity an open mantle with a hood, cappa, and came in from secular use. It seems to have been especially worn by the canons in the choir (cappa choralis); it recommended itself for processions also as a protection against inclement weather (cappa pluvialis, pallium pluviale, whence the designation pluviale). It found its way into liturgic use and became obligatory for special services, e.g., Vespers (vesper-mantle). It also developed into an episcopal robe of state (cappa pontificalis) with elaborate ornamentation. The cope resembles the chasuble, but is open in front and is held together on the breast by a clasp. Toward the Middle Ages the hood gradually disappeared and was finally transformed into a small piece of cloth with decoration (clipeus), which hung down the back. On the other hand, a train was later added to the episcopal cope. (8) The Dalmatic was introduced from Dalmatia, and resembled the tunic, though it was more elaborate; it was much favored by the higher classes. When it passed out of general use, toward the beginning of the Middle Ages, the Church retained it as a vestment for deacons and bishops especially, to whom its use was eventually confined. The sleeves and skirt were shortened and the sides were more and more cut out. On the other hand, the strips which were sewed on (clavt) and the color
(white) remained. The episcopal dalmatic especially was often the object of costly art-workmanship. The Tunicle (tunicella), which is assigned to the subdeacon, differs but little [if at all] from the dalmatic. (9) The Surplice or Cotta, a convenient garment for liturgical purposes, permissible to all the clergy, was created from the alb (which became restricted to use at mass) by shortening and simplification. The designation superpelliceum comes from the old custom, especially common in monastic circles, of wearing a linen garment over the fur coats necessitated by the long services. The material is linen. Alongside of the comfortable, widearmed surplice there exists as a variety the closefitting Rochet (rochetum, from roccus, ‘‘ coat’’), a privilege of the higher clergy, although it was worn in many regions by the common clergy also. Lay ministrants (sacristans, choir-boys) are also permitted the use of the surplice. The decoration was generally modest and usually confined to an embroidered hem. From the Renaissance period laces were used. [The symbolism is like that of the chasuble.] (10) The Biretta (birretwm) used to protect the head, which was rendered especially sensitive by the tonsure, was small and soft at first, and was made larger only after the fifteenth century, when it was given its present stiff, four-cornered shape. 2. Special Vestments and Insignia: The pontifical robes of the bishops include the above-mentioned vestments. The higher orders have vestments and insignia as follows: (11) The episcopal shoes and stockings. At the beginning of the Middle Ages the shoes (sandalia, calceamenta) belonged to the general liturgical attire; from the tenth or eleventh century, these and the stockings combined with them (calige)—of linen, later of silk—are a prerogative of the bishops. The usual color is violet. (12) The gloves (chirotece, manice) are not proved to have been in use before the twelfth century; until the fourteenth century they were of white or red silk, after this the liturgical colors appear. The rim was gradually enlarged to resemble a gauntlet. The oldest and most characteristic ornament is the circulus aureus on the upper part of the palm, a gold-embroidered or metal disk, with a figure (lamb, cross, etc.) and precious stones. From the sixteenth century, the woven glove came into use and the shape was developed mainly after the model of the dress glove. (13) The Ring (annulus episcopalis) can be proven to have been among the episcopal insignia from an early period. At the mass, the bishop wears it over the pontifical glove on the fourth finger of the right hand. Other clerical dignitaries who are privileged to wear a ring must lay it aside on this occasion. According to rule, this ring should consist of a simple gold circlet with a single stone, but numerous rich and elaborate specimens are found. (14) The Rational (rationale; cf. Bx. xxviii. 30) is a light shoulder-cloth of various form which is made up of several strips of material, ornamented with hollow plates on the shoulders or on the breast, or on shoulder and breast, and is awarded by the pope to individual bishops as a special distinction. It is worn immediately over the chasuble and only at the pontifical mass. It can not be determined whether it is patterned