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ECCLESIASTICAL DRESS
A HANDBOOK FOR THEATRE COSTUME

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SISTER W FRANCINE MCCARTY, 0.. P.

1972

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Michigan State
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ABSTRACT

ECCLESIASTICAL DRESS

A HANDBOOK FOR THEATRE COSTUME

This study provides a simplified handbook of authentic reference
material on ecclesiastical dress for theatre costume. The research is
confined to the clerical clothing of the Roman Catholic church from the
twelfth through the sixteenth century. Costumes described in the text
include Mass vesrments, ceremonial dress and choir and street dress for
the pope, cardinal, bishop and priest: the habits of monks, friars and
nuns are also delineated.

The research begins with a survey of the origin and development
of ecclesiastiCal dress throughout the first sixteen centuries of
christianity. Detailed descriptions of each item of ecclesiastical
dress for the clergy, monks, friars and nuns follow. Tables throughout
the study indicate the order in which various parts of the costume are
worn, the color of each garment, and the page on which a description of
each garment can be found. An appendix of art reproductions and sketches
authenticate the period in color and design and clarify the lines of the
costume. A second appendix of graphs contains patterns for basic garments.
A final appendix includes a list of selected plays in which either eccle-
siastical characters appear or costume designs are apprOpriate for the

play.

This work is intended to be a practical handbook for the con-
struction of ecclesiastical costume. After the costumer has researched
clerical dress and sees what he wants in his play, he will be able to

use this definitive guide in aiding him to execute the costume of eccle-

siastical characters.

ECCLESIASTICAL DRESS

A HANDBOOK FOR THEATRE COSTUME

By

Sister William Francine McCarty, 0. P.

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements

for the degree of

MASTER OF ARTS

Department of Arts and Letters

1972

ACKNOWLEDGMENTS

Many generous friends gave me their time,
knowledge and counsel while I was writing
this thesis. Especially do I extend my
deepest gratitude to Dr. Farley Richmond
who supported and encouraged me throughout

the final part of this study.

I offer them all my public thanks and my
private prayer for peace and happiness in

their lives.

ii

ACKNOWLEDGMENTS . . . . . . . .
LIST OF TABLES . . . . . . . .
LIST OF PLATES . . . . . . . .
LIST OF FIGURES . . . . . . .
LIST OF PAT'IERAVS O O O O O O 0
INTRODUCTION . . . . . . . . .
Purpose
Justification
Definition of Terms
Scope of the Study

Methodology
Limitations

Chapter

OF CONTENTS

I. THE ORIGIN AND DEVELOPMENT OF
ECCLESIASTICAL DRESS . . . .

II. DRESS OF THE CLERGY

Mass Vestments
Ceremonial Dress

Choir and Street Dress

III. DRESS OF THE RELIGIOUS ORDERS

MONKS AND FRIARS

IV. DRESS OF THE RELIGIOUS ORDERS

O O O Q 0 O

APPENDIX A - ART REPRODUCTIONS AND SKETCHES

APPENDIX B " PATTERNS o o o o 0
APPENDIX C — SELECTED PLAYS .

BIBLIOGRAPHY . . . . . . . .

iii

NUNS

Page
ii

iv

vi

vii

17

38

42

46
70
83

86

Mass Vestments .
Ceremonial Dress
Choir and Street
Religious Orders

Religious Orders

LIST OF TABLES

’ O O O 0

Dress .

of Men

of Nuns

iv

28

36

41

45

Plate

II.

III.

IV.

LIST OF PLATES

The Last Communion of Saint Jerome
Burial of Count Orgaz '. . . . . .
The Madonna with Six Saints . . .
Don Fernando Nino De Guevara . . .
Cardinal Wolsey . . . . . . . . .

Fray Hortensio Felix Paravicino .

Nuns O O O O I I O O O O O O 0 0 0

Page

48
52
54
57
59
65

68

Figure

Priest At Mass
Bishop - Ceremonial Dress
Cardinal - Choir and Street Dress
Cardinal - Ceremonial Dress

Priest - Choir and Street Dress

LIST OF F

POpe - Choir and Street Dress

Monk .

Friar

vi

‘F fivifj a-I

'LUUAL

Page

49
50
55
60
61
62
63
66

69

10.

ll.

12.

ALE . . . . . . .
MANIPLE - STOLE -
CHASUBLE . . . .
COPE . . . . . .
CAPPA MAGNA . .
ALMUCE . . . . .
CAPPA MAGNA

CAPE FOR CASSOCK
CHOIR CASSOCK .
HABIT . . . . .

SURPLICE u ROCHET
SCAPULAR

FERRAILOA . . .
CAPED GOWN . . .

HOOD . . . . -

vii

Page
71
72
73
74
75

76

77
78

79

80
81

82

INTRODUCTION
PURPOSE

The purpose of this study is to make available to the theatre
costumer a simplified handbook of authentic reference material on
ecclesiastical dress. Costumes described in this manual will be con-
fined to the dress of the Roman Catholic church of Britain and Western

Europe from the twelfth through the sixteenth century.

JUSTIFICATION
There is relatively little detailed literature on the subject
of ecclesiastical costume for stage use. Although Lucy Barton in

Historic Costume for the Stage and Ruth Turner Wilcox in Modes of

 

Costume include some of the fundamentals for clothing ecclesiastical
characters, the material is sketchy providing only a brief survey of
ecclesiastical dress.

On the other hand, special texts such as Macalister's
Ecclesiastical Vestments their Development and History are 80 detailed
that it is difficult to sort out that which is suitable for stage use.
Perhaps one of the most helpful sources in ecclesiastical dress is
Herbert Norris' Church Vestments their Origin and Development. His work
deals with the development of the classical garments which were the
ancestors of church vestments from the first Christian centuries to the
present day. Norris' treatment of vestments and some ceremonial dress

is comprehensive and well illustrated. This work is of more interest

to the historian and eccli Mastic. Everyday clerical costume as well
as the dress of the monks, friars and nuns is not included in that study.
The objective of this study is to provide a practical handbook
for the construction of ecclesiastical costumes. It should in no way
interfe -re with the costumer' 5 pre mg ive to research personally this
type of dress. The plates offered in the study hint at the wealth of
innovation possible to the artistic mind. After the costumer has
researched the costumes and sees what he wants in his play, he will be

q

to use this guide in aidir Ig him to.execute the costume of eccle-

pt!

siastical characteIs

DEFINITION F TERZiS
The following terms are frequently used throughout the study.

lcc-erit't1cal dTESJS is the costume used by those dedicated to the works

 

of the Roman Catholic church. Vestmcnts which are a part of ecclesiasti-
cal dress, are those garments which are worn for the Eucharistic liturgy
which is the highest form of worship in the church. Ceremonial dress

are the garments which the pope, cardinal, bishOp and priest wear while
attending to liturgical functions outside of the Mass. Choir and street

dress refer to those pieces of costume which the clergy wear while going

 

about their daily duties outside of Specific church services.

As a prelude to this study a few remarks have been made about
the or gin and development of ecclesiastical dress throughout the first
sixteen centuries of Chr ist tinnity. The background material provides a
rationale for this complex system of dress as well as an understanding

of the era out of which many ecclesiastical characters emerged.

In describing ecclesiastical costume, Mass vestments, ceremonial
dress, and choir and street dress of the pope, cardinal, bishop and priest
are dealt with first. After that, the dress of the monks, friars and
nuns is described.

Tables throughout the study indicate the order in which various
parts of the costume are worn, the color of each garment, and the page
on which a description of that garment can be found. The art reproduc-
tions in Appendix A authenticate the period in color and design, and the
original sketches clarify the lines of the garments. Graphs included
in Appendix B contain selected patterns for basic garments.

Appendix C includes a list of selected plays; the plays sighted
have been chosen because of the ecclesiastical characters in the cast
and because costume designs in this thesis are applicable to the church
characters in those plays. For example, a play involving a monk or
friar even though set in the twentieth century, might very well be cos-
tumed according to the directives contained here as the costumes have

not changed drastically over the centuries.

METhODOLOGY

This study is the fruit of much library research. Selected books
on church history were examined so that a knowledge of the growthof the
church would provide the background for the development of ecclesiastical
dress. When the actual costumes of the clergy were considered, texts on
theatre costume such as Lucy Barton's, Blanche Payne's and Iris Brooke's
were consulted. Since these works did not adequately meet the needs of
this study, church history books were used as reference. Although the
works of Macalister, Anson, McCloud, Norris and others deal specifically

with ecclesiastical garments, they are written for the ecclesiastic or

the historian. These texts were helpful, but the research at this point
developed into a decoding or translation of material so that it could be
used by the costumer.

After the necessary reference work was completed much effort went
into authenticating the period through art reproductions included in
this study. Original paintings as well as reproductions of famous eccle—
siastical characters were viewed in the Chicago Art Institute and the
Detroit Institute of Arts. The writer also had the good fortune to visit
the Prado Museum in Madrid, Spain; and the Cathedral at Toledo, Spain,
where some of El Greco's most famous works are preserved. Numerous art
collections in these museums and in small art stores were pursued in an
effort to find the proper plates for this study.

Through association with various members of the clergy and religious
orders, it was possible for the researcher to examine first hand some of
the garments that are used by members of the clergy. This was of invalu-

able assistance in sketching and graphing costumes for the study.

LIMITATIONS

This study of ecclesiastical dress deals only with clerical
clothing in the western Roman Catholic church. The Greek Orthodox
church was in existence at this time and closely related to the Roman
Catholic church; even though the differences between the vestments of
the Western and Eastern catholic churches consist largely in matters of
detail, they are sufficiently divergent to call for independent treat—
ment. At another time the mode of costume for the Eastern church, Jewish
and other churches might be considered in a text dealing with ecclesias-
tical costume. A more comprehensive work might also interpret church

dress for the stage from the earliest centuries to the present day.

It will be noted that art reproductions included in this study
are those of Spanish and Italian artists. A wider variety of art
reproductions would add another dimension to the research. It is ex-
tremely difficult to locate art reproductions for thesis work because
in most cases they are too large to be conveniently included in a work
such as this. Fortunately, Harry N. Abrams, publishers, in collaboration
with Frederick Hartt, associate professor of art history at Washington
University in Saint Louis, Missouri, are printing portfolio editions of
the works of the great painters so that there might very well be more
reproductions available in the near future.

Not every piece of ecclesiastical dress is pictured in the art
reproductions, sketches and graphs.‘ Every effort has been made to
clearly illustrate most of the garments, however, there are some
exceptions. When clarity seemed obvious in the written description it
did not seem necessary to visualize the more common parts of clothing.

Finally the appendix of plays attached to this study could
undoubtedly be enlarged. It was not the intention of the researcher
to list every play in which ecclesiastical characters appear but rather
to list those more popular ones and to provide the guidelines throughout
the study so that the costumer or director may be able to add to the

list.

CHAPTER I

THE ORIGIN AND DEVELOPMENT OF ECCLESIASTICAL DRESS

This study of ecclesiastical dress begins with an historical
survey of church garb as it developed throughout the first sixteen
centuries of the Western Church. General remarks about the origin and
evolution of ecclesiastical costume precede the study of specific church
dress in Chapter II. The following should provide some understanding of
the background against which ecclesiastical costume evolved.

The ecclesiastical dress of the Roman Catholic Church is complex.
As the Christian Church developed from a small group of pious fishermen
to an organized temporal power in Western EurOpe in the twelfth century,
so did the clerical dress of the Church's hierarchy become complicated
and ornate. The dress of the clergy progressed from informal use to
traditional practice as various liturgical rites were set. The
initiatory rite of Baptism, the administration of the sacraments, the
Eucharistic celebration of the cammon meal referred to as the Mass, and
other pious devotions became elaborate, dramatic liturgical functions.

The garments which the priests wore as they performed their
sacerdotal rites were called vestments. There are two theories regard-
ing the origin of ecclesiastical vestments. In his study of ecclesias-

l

tical dress, Macalister refers to the Levitical theory which states

that the vestments of the Christian Church were modelled directly upon

 

1R.A.S. Macalister, Ecclesiastical Vestments their Development
and History (London: Elliot Stock, 1896), p.11.

 

 

6

the vestments of the Jewish priesthood. This theory asserts that

minute instruction for the form and usage of sacred vestments were

laid down in the divinely revealed laws of Moses, establishing the fact
therefore, that elaborate sets of vestments were in use during the first
.centuries of Christianity.

Macalister rejects this theory for several reasons. First, the
early Christians probably borrowed many details of their worship from
the Jewish religion; these details were not taken from temple worship,
but from the synagogue worship to which they had been accustomed.
Elaborate vestments were appointed for temple worship, but there were no
vestments appointed for use in synagogue worship. Second, it would stand
to reason that if Christian vestments were of Jewish derivation there
would be a similarity or equivalent vestments in each religion, and
historians do not find parallels between the two systems. Thirdly, the
evidence of contemporary art during the first six centuries of the
Christian era denotes great simplicity in dress and vestments. Finally,
Macalister poses the question,

. . .may we not ask with reason how the early Christians, a

poor and persecuted sect, could possible assume and maintain

an elaborate system of vestments such as the Jewish?' And if

the assumption had been made after the days of the persecution

were past, surely some record of the transaction would have

been preserved until our day? We possess a tolerably full

series of the acts and transactions of ecclesiastical courts

in all parts of the world from the earliest times - - how is

it that all record of such an important proceeding has
perished.2 '

The second position, the Antiquarian or Roman theory regarding

ecclesiastical dress supported by Macalister and Anson3, states that

 

21bid.

3Peter F. Anson, Churches their Plan and Furnishing_0Milwaukee:
The Bruce Publishing Company, 1948), p. 186.

 

 

8
during the first centuries of Christianity there was no distinction
between civil and ecclesiastical dress. The first Christian clergy
probably wore the same garments during the celebration of the Bucharist
as during their ordinary avocations. From motives of respect for the
sacredness of the function, it may be presumed that the clergy would set
aside their best and cleanest garments for the celebration of their
sacred duties. The situation in which the church was placed during the
first three centuries rendered such a custom unavoidable. For the
bishOps and priests to have gone about in a garb that obviously marked
them as Christian leaders would have been an act of folly in days when
bitter persecution was constantly threatening.4 Therefore, it is
commonly believed that ecclesiastical vestments do bear a resemblance to.
the contemporary costume of the Roman peOple during the first three
Christian centuries.

In the fourth century, Constantine, with the comprehensive vision
of a great statesman, gave recognition and freedom to the Church. The
Church which had survived the scourgings and spanned the classes and
nations, was protected now by numerous privileges. By the fifth century,
Christianity was transformed from a secret society into the mighty and
supreme church of the Empire, upheld by the power of the state.5

Between the time of Constantine and Charlemagne in the ninth

century, there were many outside influences which affected the style and

form of the church, its rites and its vestments. Perhaps the most

 

4Rev. George S. Tyack, Historic Dress of the Clergy (London:
William Andrews and Co., 1897), p.5.

 

SRudolf Sohm, Outline of Church History_(Boston: Beacon Press,
1958), p. 45.

 

important event was the separation of the Eastern (Byzantine) Empire
from the Western Church which occured in the fourth century. The church
became divided into two distinct parts, which were to develop independ-
ently. In truth there were two Christendoms.

The fourth and fifth centuries witnessed the barbarian invasions
of the Buns, Goths, and Vandals. With this movement came a change of
fashion in men's clothing as well as the life of the Mediterranean
people. The barbarian dress, leaving the legs free and unencumbered
with flowing draperies, may have been more convenient, but it was not
considered suitable for Christian worship, at least as far as the
officiating clergy was concerned. 50, for ritual celebrations of.
Sundays and Feastdays, old garments of Roman style which had been care-
fully preserved were brought out, even though in cut and style they
were no longer'hp-to-date”; in this way a traditional priestly costume

evolved.

The use of vestments in the Western Church rapidly developed and
there was an increase in splendor until it culminated in the gorgeous
enrichment of medieval times. The people shaping the future of the
Western Church were natives of Spain, Gaul, Britain, Germany and Italy.
Though the culture and dress of each country was unique, Rome was the
central power. Since unification was the outstanding characteristic of
the Roman Government, it was only natural that this universality expressed
itself in the rising church government and ultimately in the garb worn
by the ministers of the church. Therefore, the deveIOpment of
ecclesiastical costume proceeded on the same lines throughout all the

countries of the Western Church.

 

6Macalister, cp.cit., p.26.

lO

Ritual in matter of dress was rapidly growing. The church made
laws concerning the prOper dress of the clergy throughout the centuries
because ”the clergy who are called to the inheritance of the Lord, should
manifest their interior holiness by the decency of their external
dress.”7 Pope Celestine in a letter to certain Bishops of Gaul urged
the proper use of vestments but stressed the avoidance of extravagant
fashion.8 The sacredness of the vestments was particularly prescribed
and the insignia peculiar to the different clergy was legislated. There
are not many records concerning vestments during this period, but
historians generally agree that there was a continuing develOpment and
50phistication in number, use and regulation, and that this did not

differ from country to country.9

New developments in the church, especially the accumulation of
wealth, influenced ecclesiastical costume greatly. On Christmas Day,
800 A.D., Pope Leo III crowned Charlemagne, King, and called into being
the Holy Roman Empire. The Holy Roman Empire was an attempt to unite
the Western nations into a world federation of Christians. Spiritual
and temporal power was to be shared between Pope and Emperor., Soon,
however, a struggle for power resulted in the supremacy of the papacy;
this laid the foundation for the church's temporal power and wealth.

The worldliness of the church manifested itself in the garb of
its leaders. The former simplicity and rigidity was ignored and

novelties of style and excessive ornamentation grew in acceptance.

7Rev. Henry J. McCloud, Clerical Dress and Insignia of the Roman
‘Catholic Church (Milwaukee: The Bruce Publishing Company, 1948), p. 37.

 

81bid., p. viii..

9Macalister, op. cit., p. 29.

ll

"The vestments were always ample, and their cut and trimming, their
ornamentation with orfreys (decorative binding to cover seams), gems,
and floriated designs varied with the artistic taste of each country."10
Beginning with the twelfth century, even further stress was placed upon
the distinct vestments to be worn by the papa, cardinal, bishop and
priest. Thus it was possible to distinguish the officiating clergy by
the vestments they were wearing. At the same time, specific vestments
were prescribed for the various ceremonies at which the clergy would
officiate. Gradually there came to be a system of vestments for each
level of the clergy, and distinctive vestments for the various functions
and celebrations of the church.11

The papacy reached the height of its power and influence under
Pope Innocent III (1198 - 1216).12 Innocent demanded the complete sub-
jection of the state to the church, including the right to appoint and
depose monarchs. The increasing wealth of the church, the worldly lives
of its leaders, and political intrigue caused great dissatisfaction with
the church. This dissatisfaction grew during the residence of the French
Popes at Avignon rather than Rome and with the increased use of lay
investiture. The solidity of the Church was not to be retrieved: the
hope of peace on earth faded, and so perished for the time the great

ideal of the divine government of the world.

 

10Dom. E. A. Roulin, O.S.B., Vestments and Vesture trans. Dom.
Justin McCann, O.S.B. (Westminster, Maryland: The Newman Press, 1950),
p. 7. '

 

llMcCloud, op. cit., p. vii.

12Herbert Norris, Church Vestments their Origin and Development
(New York: E. P. Dutton and Company, Inc., 1950), p. 3.

12

The sophistication, power, and wealth of the church during the
twelfth to the sixteenth centuries led to further and considerable
changes in ecclesiastical dress. The number of vestments had been fixed
definitely and there was a tendency to decorate them and cut down their
size. Some of them ceased to have any practical or functional purpose,
and became mere ornaments retained from conservative instincts. Today,
except in places where there has been a revival of the earlier type of
vestments, it is almost impossible to detect any relationship between
the original secular garments of the first ages of Christianity and the

purely decorative "Gothic" vestments that evolved in the later Middle

Until the thirteenth century ecclesiastical dress referred only
to vestments, that garb which the clergy wore as they performed their
sacred duties. At this point, however, clerical costume, that is, the
dress which the clergy would wear outside of the time they were
officiating at liturgical celebrations, came into being. For centuries
the clergy had no particular dress for ordinary use, but gradually a
costume consisting basically of a cassock with variations, was used.
This type of dress which might be referred to as a "clerical Uniform".
was sufficiently varied to allow for distinction between the levels of
the clergy, e.g., the cardinal, bishop or priest.

The dissatisfaction of the Christian world with the apparent
worldliness of the Roman Catholic Church motivated a counter-movement.
The thirteenth century saw a surge of holiness led by such men as
Dominic and Francis and the rise of the Friars or Mendicant Orders.

These friars are to be distinguished from the monks who existed as

 

13Anson, loc. cit.

13

early as the second century. A basic difference between monks and friars

is suggested by the derivation of the word. ”Honk" comes from the Greek
word meaning solitary while "Friar” goes back through the old French to the
Latin, frater, brother. By definition, therefore, monks were men who

sought their own salvation in solitude, while friars were a band of brothers
who were also taught to think of themselves as brothers to all mankind.

The monks and friars played a contrapuntal theme to the papacy in
the quest for holiness. The monks lived on a very meager diet and wore
tunics of coarse cloth. As monasticism developed there were various
orders of monks: their rule was basically the same although there was
some distinction in dress among the various orders, mainly through the
use of color. For example, the Benedictines wore a black tunic while
the Cistercians wore white.

The Mendicant Orders, as their name implies, begged for their
living. The friars were generally men who had given away all of their
earthly possessions in order to espouse poverty and to proclaim the
gospel message to the peOple. The friars also wore a coarse tunic called
a ”habit”, with a cord or belt and a hood. It is interesting to note '
that the beggar's bag of these Mendicant Orders developed into the
academic "hood" which we now see draped around the shoulders of new-
fledged Ph.D.'s at university commencements.14 As with the monks the
color of the friar's tunic or habit differed from order to order.

In all ages women, hardly less than men, have played their part

in monasticism. As the various monastic and mendicant orders arose,

 

ll“Paul Hutchinson and Winfred E. Garrison, Twenty_Centuries {g5
Christianity, (New York: Harcourt, Brace and Company, 1959), p. 140.

 

14

a female branch was often also formed. Women who devoted their lives

to the works of the Church took vows of poverty, chastity and obedience,
and lived a communal life under a superior. Habits worn by the
Benedictines, Dominicans, Poor Clares and Carmelites were monastic in
origin and were, from the very beginning, meant as the uniform of

women consecrated to God. The principal purpose of the nuns who
ministered to the people was not only to assist each member toward her
own sanctification, but to re-christianize society. .

The extreme poverty of the monks, friars and nuns did not, however,
curtail the splendor and worldliness of the church. Rather the church
embodied both the mendicant orders and the other members of the clergy
often referred to as seculars - - meaning without order. The church
took on an even more unprecedented degree of splendor. The Vatican,
completely rebuilt in 1447, became as luxurious as any court in EurOpe
and by far the most magnificent. Nicholas V, the first "Renaissance
Pope," began the Vatican library, and artists like Michelangelo and
Raphael served the Vatican. The popes and cardinals and many of the
higher clergy from the middle of the fifteenth century to the middle of
the sixteenth were worldly and sophisticated men. During the *
Renaissance, religion was questioned as represented by a church that was
dogmatic and authoritarian in principle and whose personnel and
administration were deeply immersed in the secularity of the period. It
took the Protestant and Catholic Reformations to counter the luxury and.
worldliness of the clergy, and bring about throughout the church a
quickening of religious zeal, and a revived sense of the dignity and
responsibility of the high office of the church. The garb of the church

was attacked by the Puritans and the Protestants but the church retained

15

the vestments that had developed over the centuries. Some who broke
from Rome and formed other religious cults simplified the priestly garb,
but the vestments used at the peak of the Roman Catholic Church's power
remained in use. Since that period the documents of Vatican II have
urged an investigation of eccentric religious garb and a return to the
use of contemporary clothing as was the custom of the early Christians,
but the general structure remains.

In summary then, the Eucharistic vestments are not thought to have
been an invention of the church. They were not derived from the splendid
vestments worn by the Jewish Priests. They have only become "sacrificial"
because they were the clothes worn by priests and laymen in the days of
persecutions, and have been retained from motives of reverence and
conservative instincts. They are a constant reminder of the early
Christians and the martyrs; garments hallowed by the traditions of many
centuries, and which have become part and parcel of Catholic worship,
although not necessarily essential to it.15

After a consideration of the development of ecclesiastical costume,
it might be concluded that,

the history of costume, the traditions of each country and

the fashions of each age, prove conclusively that clothing

is not solely a matter of decency, convenience, well-being,'

and hygiene. It seems to be determined far more by the desire

to adOpt an exterior behaviour in harmony with the ambitions or

qualities of the soul. We.strive, by our dress, to become what

we are not by nature. The Latin word, 'habitus', may be as

aptly applied to the moral dispositions which embellish the

soul as to the outward bearing and the costume which clothes
the body.16

 

15Anson, loc. cit.

16Robert Lesage, Vestments and Church Furniture (New York:
Hawthorne Books, 1963), p. 92.

16

Understanding the history and development of ecclesiastical dress
should serve to clarify the description of the different vestments

and clerical costume which follow.

CHAPTER II

THE DRESS OF THE CLERGY

Ecclesiastical dress had humble beginnings in the first centuries
of Christianity. However, as the church grew in splendor and
magnificence so did the garb of the clergy. In considering ecclesiastical
costume the first priority will be an explanation of Mass vestments.
Following a description of Mass vestments in general each particular
vestment will be described in detail. BeCause of the complexity of this,
dress it seems apprOpriate to describe the vestments in the order in
which they are worn. Table 1 indicates not only the order in which'
vestments are used, but also the color of each garment and the page
number on which a description of that garment can be found. The art
reproductions, sketches, and graphs located at the end of the text serve

to clarify in a visual manner individual items of clerical costume.

MASS VESTMENTS
Mass vestments refer to those garments which are worn for the
Eucharistic liturgy which is the highest form of worship in the Roman
Catholic Church. These vestments are worn by all members of the clergy
whether pope, cardinal, bishOp or priest. In fact, even monks or friars
who have been ordained priests must wear the commonly prescribed vest-
ments for the celebration of the Mass. Because the pope is the head of
the Western Roman Catholic Church and because the cardinals and bishops

possess special power and privileges they are considered the hierarchy

l7

18

of the Roman Catholic Church. This means that their vestments will be
richer and more ornate than the vestments of the priests, monks, and
friars.

With the preceding general remarks about Mass vestments in mind,
a description of each particular vestment follows. The colors and
materials used for Mass vestments and the directions for wearing each
garment are included in the definition.

Qgggggk, - The basic garment of the clergy is the cassock.
(See Figures 3 and S.) The cassock is a long-sleeved, close-fitting,
floor-length coat covering the entire body from the neck to the feet.
It generally has a shoulder cape without a hood and is fastened down the
front with a number of small buttons placed closely together. The
Councils of the Middle Ages, legislating upon ecclesiastical dress,'
prescribed a dark color for the eassocks of priests and reserved unde-
termined bright colors for dignitaries. Bishops usually wore green,
however, purple, red, bluish-violet and even a sort of deep-orange color
were occasionally used. The chief function of the cassock was to provide
warmth, and since it was worn in cold churches as well as in the streets,
it was usually lined with fur. Very rich furs were used to line the
cassock of the higher prelates, but ordinary priests were not allowed
these eXpensive furs and so they were content with sheepskin lining.

Amigg, - Over the cassock the priest wears the amice. The amice
is an oblong piece of white linen, thirty-six inches by twenty-four
inches, to which two white tapes are attached; these tapes are sewn, one
on each upper corner, at the wide end of the amice. (See Figures 1 and 2,
and Appendix B.) At first the amice was made of plain white linen,

but about the twelfth century a border of gold embroidery was added.

19

Later, a large cross was embroidered in the center of the amice. The
amice is worn by taking the two tapes, placing the linen part on the head,
before crossing tapes over the chest and tying them in back at the
waist. The edge of the amice which falls on the shoulders is covered
by the neck Opening of the second vestment, the alb. After arranging
all the vestments in correct order, the priest pushes the linen back
over his head to his shoulders; the amice then forms a sort of hood or
cowl. Although the priest's head is usually bare when officiating, the
amice may be worn on the head as a protection from draughts or when
out-of-doors in procession.

Alb, - The second vestment the priest dons for Mass is the alb.
The alb is a floor—length, white garment with loose sleeves enabling it
to slip easily over the cassock. (See Plate I, Figure l, and Appendix B.)
The alb is usually made of very fine white linen. Until the fourteenth
century the alb was plain with no decorations: after that, its only
decoration was purple silk embroidered with gold at the hem and wrist.

§£glg. - Over the alb is placed the stole. The stole began as a,
long rectangular piece of fine white linen. Gradually, tassels, bells,
and fringes began to ornament the ends of the stole.) Later, pieces of
embroidery were added and the stole matched the maniple and chasuble in
color and material. The stole was worn at almost all liturgical functions,
and nearly always, crosses were incorporated into the pattern.

The stole is worn around the neck over both shoulders, the pieces
crossing over each other on the chest; it is confined at the waist by
the girdle, with the ends descending the front sides of the alb to about
the level of the ankles. (See Figure 2.) The cardinal and bishop wear

the stole around the neck but not crossed on the chest; the ends of the

20

stole-hang straight down and free permitting the pectoral cross to show.

gigglg, - The girdle or subcinglum is essentially utilitarian
and sometimes ornamental. It is always used to confine garments worn
around the waist, and it dates back to very early times. The length of
an ecclesiastical girdle is about three yards, and is usually made of
white or gold cord. The girdle may be embellished with embroidery and
precious stones, but since it is covered by the folds of the alb it is
almost always unseen. The ends of the girdle usually hang at the left
side and generally reach to the hem of the alb.

Maniple. - The maniple was used in olden times as a handkerchief.
It is a-strip of material anywhere from two to four feet long and three
to four inches in width, and is worn over the left wrist. (SeeFigure 2.)
The maniple was originally made of white linen, but as thewealth and
power of the church increased it was made of richer materials and was
more elaborately decorated with embroidery and jewels. During the
twelfth and thirteenth centuries, the maniple was usually widened at
the extremities, forming two slightly pronounced flaps resembling stole
ends. Both sides of the maniple are embroidered often with a different
pattern.

Chasuble. - The last vestment proper to the Mass is the
chasuble. The chasuble is an oval shaped vestment with its longer ends
pointed. It is embroidered in a Y shape, with bands of decorations
(orphreys) back and front to mask the seams. The chasuble slips on
over the head and falls gracefully from the shoulders in loose folds.
(See Plate I, Figure 2, and Appendix B.)

During the thirteenth century, a wave of simplicity in decoration

and cut passed over Western Europe. In costume, sober magnificence,

21

dignity of appearance and richness of material (velvet was first used

in 1250), was the standard most desired by the clergy and nobility.17
During the fourteenth century, the sides of the chasuble were

cut away, thus converting the semi—circular form into the unlovely

18 Also

shape which came to be known as the "Fiddle Back" chasuble.
during the Middle Ages, when heavier fabrics became more common and
embroidery more elaborate, it was almost impossible for the priest

to raise his hands or arms unless the deacons were at his side to roll
back the chasuble.

Colors. - The amice, alb, and girdle are considered the inner
vestments and are usually made of white linen. The outer vestments,
the stole, maniple, andchasuble, are made of silk or some other
similar material.

It was not until the Middle Ages that color sequences for
vestments were drawn up, and there was a great variety of
practice before the sixteenth century. Except in cathe- '
drals and large churches, the best vestments regardless
of color, were used for the highest feasts. Certain
dioceses, particularly in France and Spain, evolved color
sequences of great elaboration.1

In general, the maniple, stole, and chasuble should match in material,
embroidery and color. Colors are usually red, green, violet or white,
black for funerals, and gold or yellow as Optional for special occasions.
Before the sixteenth century, color restrictions were few and almost

any color or shade was permissible.

 

17Norris, op. cit., p. 68.

18Norris, 92. cit., p. 81.

19Anson, op. cit., p. 186.

b

22

TABLE 1

COLOR'

MASS VESTMENTS

 

g~g§ DESCRIPTION_QN PAGE
Cassock White 18
Amice White 18
Alb White 19
Stole White* 19
Girdle White or Gold ‘ 20
Maniple White* ' 20
Chasuble White* 20
Skullcap White 25
Tiara Gold or Silver 26
Pectoral Cross and Ring , 25
Gloves White* ' 27
Buskins and Footgear White* 30

* Options: red, green, violet, black, yellow, gold

 

CARDINAL COLOR DESCRIPTION ON PAGE
Cassock Red* ’ 18
Amice White 18
Alb White . 19
Stole Red** 19
Girdle White or Gold 20
Haniple Red** 20
Chasuble Red** 20
Skullcap Red* 25
Mitre Gold . 26
Pectoral Cross and Ring . 25
Gloves Red** 27
Buskins and Footgear' A Red** 30
Crozier . ' 27

*

Options: green, purple, blue-violet, deep-orange

**

Options: green, violet, white, black, yellow, gold

BISHOP - ARCHBISHOP

 

 

Cassock
AmiCG
Alb
Stole
Girdle
Maniple
Chasuble
Skullcap
Mitre

Pectoral Cross and Ring

Gloves
Buskins and Footgear
Crozier

*

**_ Options: red, green, violet, white, black, yellow

gnrssr

Cassock
Amice
Alb
Stole
Girdle
Maniple
Chasuble

*

’Options: red, green,

23

TABLE 1 (cont'd.)

 

COLOR' DESCRIPTION ON PAGE
Green* 18
White 18
White 19
Goid** 19 '
White or Gold 20
Gold** 20
Gold** 20
Green* 25
Gold 26
25
Gold** 27
Gold** 30
27,

Options: purple, red, blue—violet, deep—orange

 

QQEQR DESCRIPTION ON PAGE
Black 18,

White 18

White 19

Violet* 19

White or Gold 20

Violet* 20

Violet* ' 20

white, black, yellow, gold

24

CEREMONIAL DRESS

As stated previously Mass vestments are the garments worn for the
Eucharistic liturgy. However, there are other liturgical functions
performed by the clergy in which a special kind of garb is worn. This
costume is called ceremonial dress.

In considering ceremonial dress the definition will be followed
by a description of particular pieces of the costume. Table 2 indicates
the vestments and other garments that are part of ceremonial dress.
The color of each garment and the page number on which a description of
that garment can be found is also shown in Table 2. Further clarification
of ceremonial dress can be found in the art reproductions, sketches and
graphs which follow the text.

By ceremonial dress we mean the garments which the pape, cardinal,
bishop and priest wear when attending to liturgical functions outside
of the Mass. These functions include solemn processions, baptisms,
confirmations, marriages, ordinations, funerals, and coronations.
Ceremonial costume is an exquisite and elaborate way of dressing and
adds much to the solemnity of church and state occasions.

£222, - An important item of ceremonial dress is the cape, The
cope is a floor-length cape fastened at the neck, usually made bf rich
plain fabric of a variety of colors beautifully ornamented and
embroidered. (See Plates II, III, Figure 2, and Appendix B.) .By the thir-
teenth century, a rectangle of embroidery was sewn on the edge of the cape
and fastened to the Opposite edge by buttons and loops. This was known as
the morse which later developed into a very beautiful piece of jewelry
excellently wrought by goldsmiths. The purpose of the morse was to

fasten or hold the cope together at the neck. By the fifteenth century,

25

the cope was often made of velvet, which at this time was much used but
very expensive.

Cappa Magna. - The Cappa Magna is a large mantel with a long

 

train. (See Figure 4 and Appendix B.) This cape is entirely closed
with the exception of a vertical opening about ten inches long over
the chest; it is completed with a fur cape closed in front, slightly
Opened at the back.

Pectoral Cross. - A piece of jewelry common to the pOpe, cardinal,

 

and bishop is the pectoral cross. :(See Figure 6.) This cross Or crucifix
is used as a private ornament by the hierarchy and contains space within
itself for a relic. It hangs from the neck on a chain or cord. It was
not until the fourteenth century that the_Pectoral Cross was acknowledged
as a distinguishing episc0pal ornament.

figflgs, - The wearing Of rings by certain members of the clergy
dates from the very early centuries. The pope, cardinal, and bishop
wear a ring on the fourth finger of the right hand. The ordinary gemmed
ring worn by bishOps and other prelates in daily life contains a simple
gem. The pontifical ring worn by the pOpe contains a precious stone and
may be surrounded by smaller precious stones; the pontifical ring should
be large enough to be placed on the gloved finger.

Skullcap, - There are several kinds of head apparel included in
a ceremonial dress. The simplest, the skullcap, dates back to the
thirteenth century, and is a small, round cap covering the crown of the
head.v The skullcap is usually white for the pope, red for cardinals and
bishOps and may be worn at anytime by the hierarchy. The skullcap is

never worn by priests.

26

M1533, - Another piece of head apparel is the mitre. The mitre
is a kind of folding cap consisting of two flat pieces ending in a peak.
(See Plates II, III, and Figure 2.) The mitre has two fanons or strips
of material that are suspended from the back. As a liturgical vestment
the mitre dates from the twelfth century. It was made of a piece of white
linen sewn up on the sides, possibly stiffened with parchment; the
resulting gap on the crown of the head was filled in by a gore of material.
There was a low cap with a crescent shaped depression over the forehead.
During the twelfth century the mitre was worn a different way so that
the peaks were back and front instead of on the sides. From the four-
teenth century the mitre was made of silk and it was enriched with jewels.
and gems. Bands of gold embroidery were set to mask the seams. Another
band of material often embroidered, surrounded the head, and the two
ends (fanons) extended about eighteen inches down the back. These fanons
were usually undecorated except for the fringe at the end. Mitres be—
came more richly ornamental as the centuries progressed. The mitre may
be used by the pope, cardinal, and bishop, and there is little distinction
in the kinds of mitres each has.

Ziggg. - Instead of a mitre,-the pOpe could choose to wear-the
papal tiara.. The tiara, a head covering known as the papal diadem or
crown apostolic, is a triple crown headdress composed of cloth of gold
or silver, mounted on a stiff foundation. (See Appendix B.) The three
crowns are set with numerous jewels and pearls. There is usually a band
of silver or gold cloth encircling the base of the tiara, and like the
mitre, the tiara is finished Off at the back with infulae (fanons), flaps
of material. According to a late twelfth century statement, the POpe

wore his tiara not only at his coronation, but also on state occasions.

27

By the fifteenth century, the pOpes had definitely adopted the triple
crown tiara for all ceremonial occasions.

Pastoral Staff or Crozieg. - The crozier may be considered a

 

property on the stage, but it is a very important part of ecclesiastical
dress and therefore is treated as part of ceremonial costume. The
pastoral staff or crozier is the symbol of office or authority of the
bishop and cardinal. In his own diocese the crozier may be carried
ahead of the prelate in procession, but at all other times he carries

it himself.

- The crozier may be of wood or precious metal. Its full length is
about six feet, curving at the top into a crook or volute, the diameter
of which is about eleven inches. (See Figure 2.) With the increase of‘
splendor in the church the crozier became more decorative, and there is
great variety of design in croziers from the thirteenth century. Niches
or shrines with crocheted pinnacles containing figures of saints appeared
beneath the crooks of elaborately decorated croziers.

912135. - Gloves were worn by the clergy originally to keep the
hands warm and were used not only by bishops and cardinals but by priests.
As a church vestment there is no mention of gloves until the twelfth
century. Ecclesiastical gloves like others were made of skins, silk,
wool, linen or a knitted fabric, and were usually white to suggest
purity. On occasion, colored gloves (green or violet) were worn, and
by abOut the fourteenth century color sequence had developed so that
gloves corresponded with liturgical colors, namely white, red, green
and violet. Throughout the Middle Ages, gloves-were often richly
embroidered in gold and silk on the backs and cuffs and around the

fingers.

28

TABLE 2

CEREMONIAL DRESS

goPE

Cassock

Amice

A l b

Stole

Girdle

Maniple

Cope

Tiara

Pectoral Cross and Ring
Gloves ‘ ‘
Buskins and Footgear

*

ggRDINAL

Cassock

Amice

Alb

Stole

Girdle

Maniple

Cope

Mitre

Pectoral Cross and Ring
Gloves

Buskins and Footgear
Crozier'

* .

**

999.93

White

White

White"

White*

White or Gold
White*

Gold

Gold and Silver

White’
White

sews

Red*

White

White

Red**

White or Gold
Red**

Cold**

Gold

Red**
Red**

DESCRIPTIQN 0N PAGE

18
18
19 '
19
20
20
24
26
25
27
30

Options: red, green, violet, black, yellow, gold

DESCRIPTION 0N PAGE

18
l8
l9
19
20
20
24
26
25
27
30
27

Options} green, purple, blue-violet, deep-orange

Options: green, violet, white, black, yellow, gold

29

TABLE 2 (cont'd.)

 

 

BISHOP - ARCHBISHOP COLOR DESCRIPTION ON FAQ;
Cassock Green* 18
Amice White . 18
Alb ' a White 19.
Stole ' 1’ Gold** 19
Girdle White or Gold , ~ 20
Maniple Gold** 20'
Cope a Gold** 24
Mitre Gold 26
Pectoral Cross and Ring . 25
Gloves GoId** 27
Buskins and Footgear A Gold** 30

Crozier 27

* Options: purple, red, blue-violet, deep-orange

** Options: red, green, violet, white, black, yellow

 

PRIEST ' COLOR DESCRIPTION 0N PAGE
Cassock Black A 18'

Amice . White 18

Alb White 19

Stole White* 19

Girdle White or Gold 20

Maniple White* , 20

Cope , White* 24

*

Options: red, green, white, black, yellow, gold

30

Buskins. - Buskins, ceremonial silk stockings, the same color as
the liturgical vestments, were worn by the hierarchy when celebrating
Mass or officiating at ceremonies. Footgear does not appear to have
been in liturgical use before the twelfth century, when all forms of
footgear as a vestment are technically noted as sandals. Shoes worn
were very rich and were made of colored leather, cloth, or silk, and
were ornamented with bands of gold covering the seams. By the four-
teenth century the dress shoe was not so pointed in the toe as the
contemporary fashion was, and ornamentation was simpler than the

preceeding centuries.

CHOIR AND STREET DRESS

Thus far the dress the clergy wears while performing their sacred
rites has been described. However, when members of the clergy are
involved in everyday duties they continue to use a distinctive costume
usually referred to as choir and street dress. Choir and street dress
includes those garments which the clergy wear while going about their
daily duties. These duties include prayer and services such as the
recitation of psalm readings, visiting the sick and counseling. Choir
and street dress might also be worn at court functions. With that
delineation in mind, a description of these garments follows. Table 3
indicates the various pieces of costume worn by the clergy as well as
the usual color of the garment. Again, page numbers show where a
complete description of the garment can be found.

Choir_Cassock. - The basic dress of the clergy is the choir

 

cassock, so called because it is worn by the prelates at the public

ceremonies of the church. The choir cassock differs from the ordinary

31‘

cassock in style, material and color and has a train which may be let
down on specific occasions. The train, lined with red or amaranth silk,
is attached at the outside and is pulled up at the waist in the back;
when the train is let down it falls in graceful folds and trails on the
ground behind the heels. The choir cassock has neither a cape attached
nor a double sleeve. (See Plates II, IV, Figures 3, 5, 6, and Appendix B.)

The choir cassock is made of silk, broadcloth, or woolen material.
The pope wears a white cassock, cardinals wear scarlet ones, and bishops
wear purple ones. For ordinary everyday use both the cardinal and the
bishop wear black cassocks piped, buttoned and girdled with a silk sash
in scarlet and purple respectively. Plain black cassocks are worn by the
priest.

Agigggggg. - The cincture or sash was used from early centuries.
The sash is a wide band around the waist of the cassock and was very
necessary in the beginning as the cassock was made rather ample.

Rochet. - The rochet is a sleeved tunicof linen that reaches
to the knees. (See Plate IV and Appendix B.) The front of the rochet
has a short vertical opening trimmed with lace and is fastened at the
neck with two silk ribbons, which may be white or the same color as the
lining of the cuffs. The bottom, the shoulder pieces, and the cuffs of
the sleeves are trimmed with lace. Beneath the lace, at the shoulder
pieces and sleeves is a silk lining of the same color as the cuffs of the
prelate's choir cassock. The rochet is a non-liturgical vestment,
merely a mark of personal distinction and is therefore a garment of
dignity, the prerogative of bishops and cardinals, and of others to whom

the right to wear it may be especially granted.

32

Sgggligg. - The surplice is a loose liturgical garment reaching
to about mid-calf. (See Plate.l and Appendix B.) It has wide sleeves
and either a round or square opening at the neck. The surplice has a
slit at the neck which is fastened with either ribbons or a button.

The surplice should be ample enough to hang on the wearer in a graceful
manner.

As a liturgical vestment the surplice dates from the eleventh
century. Towards the close of the twelfth century in some places the
surplice was the distinctive vestment of the clergy. In the thirteenth
century the surplice began to be shortened and reached half way between
the knees and the feet. (See Plate II and Figure 3.) Before the six-”
teenth century the surplice was generally plain, and there was no positive
law prescribing the material for the surplice. Since it is a modification
of the alb, it should be of the same material prescribed for the alb,
which is white linen or hemp.

Almuce. - The almuce was first worn in the thirteenth century.

It is a cape of various dimensions usually reaching from the neck to the
elbow and sometimes to the ankle.' Since the almuce was originally worn
for warmth it was lined with fur and had a roll collar. The almuce

could be worn so that the fur lining would be on the outside of the
garment. In later centuries, however, the almuce was of cloth and

matched in color and material the rest of the costume the bishop or cardi-
nal was wearing. (See Plates IV, V, and Appendix B.) .

Tipper. - The tippet, a sort of scarf, worn cloth inwards, with
a sable-fur lining turned back and rolled over the inner edge as it lay
on the body, came into existence in the fifteenth century. Instead of
an almuce, lesser clergy wore a tippet and hood of black cloth. (See

Figure 5.)

33

flggg. - The hood is a full cape covering the shoulders, with a
small peaked hood attached to its back. (See Appendix B.) The hood was
a very general item of head covering, either attached to or separated
from the main garment. This arrangement made it possible for special
hoods of liturgical colors to be worn by the clergy during different
seasons. Such hoods, worn by the cOuntry folk and the laity, generally
were close-fitting; so when the clergy adopted them and found them
rather small, some other head covering was necessary to protect a bald
or tonsured head from the cold. ”The skullcap might fulfill this purpose
ibut several other types of head coverings were used.

Square Cap. - The most common head covering during the Middle

 

Ages was the square cap. (See Plate V and Figure 5.) The square cap is
made of loose black cloth or velvet, its seams forming four ridges along
the top of the head; the square cap has ear flaps and fits very close to

the head.

The_§road-brim,_Low:crowned Hat. - Another type of hat worn by

 

the clergy is a round, broad-brim, low-crowned hat. (See Plate V and Fig-
ure 4.) This hat was supposed to be made of beaver hair, but for reasons
of general economy was often made of felt. The crown of the hat is en-
circled with a silk hand or cord, the color of which is indicative of the
wearer's dignity. That band is red and gold for cardinals, green for
bishops and black for priests. The cardinal may wear a red hat when
wearing his red cassock. This hat is the prOper headdress for a prelate
wearing his official costume outside of church ceremonies.

Pontifical Hat. - The pontifical hat is a token of dignity or

 

jurisdiction to be worn only during official ceremonies. The pontifical

hat is a round, broad-brim, low-crowned hat. The tasseled cords which

34

hang on each side of the crown are meant to fasten the hat on the
wearer's head. The hat cords end in a simple tassel, but the tassels
often are elongated and multiplied in triangular formation. The pope's
pontifical hat is made of red velvet: the pontifical hat of the cardinal
is also red, but is made of broadcloth. Pontifical hats of archbishops
and bishops are made of green silk with strings and tassels of the same
color.

Chimera. - The chimere is a short, sleeveless cloak or coat,
descending to below the knee, opened up the front and buttoned at the
neck. (See Figure 3.) At the sides there are slits frOm eighteen to
twenty—four inches in length for the arms. The chimere was worn by '
bishops of the Western church as an outdoor garment for riding and other
purposes. At first it was made of black silk, but later in colors,
scarlet, purple or blue, and probably lined if required for warmth.
During the fourteenth century, the slits for the arms are open down the
whole length of the garment. The chimere was still worn over the
cassock.

Mantelletta. — The mantelletta dates from the later half of the

 

fourteenth century and is a clerical sleeveless garment similar to the
chimere. (See Figure 6.) It is made of silk or woolen material, and
is worn only by cardinals and bishops..
Mozetta. - Another descendent of the chimere is the mozetta.
This garment is a short cape, which covers the shoulders; it is about
elbow length and is fastened up the front by buttons. (See Figure 6.)
Ferraiolo..- The ferraiolo or the ferraiolone is a large clerical
cloak which may be worn by all members of the clergy. This cape is made

of light material and is fastened at the neck with two ribbons. The

3S

cloak usually has a large stiff collar falling back over the shoulders.
The cape has no lining except at the collar.. (See Appendix B.)

The dress of the pope, cardinal, bishop and priest has now been
described so that ecclesiastical characters may not only be costumed for
the stage, but may appear in apprOpriate garb as the play or the scene
demands. Vestments worn during Mass, ceremonial dress to be worn for
stately and liturgical functions, and the choir and street dress, are
outlined so that the costumer may select the ecclesiastical character,
study the situation in which that character appears, and then outfit
him for that scene. Mention might be made here of the prOper costume
for a server or altar boy. Men or boys assistingthe clergy usually-
wore a black cassock and white surplice. (See Plate I.) This is the
usual, simple costume for acolytes. The next consideration in the
matter of ecclesiastical dress is the specific costume of other members

of the clergy, namely monks and friars.

36

TABLE 3

CHOIR AND STREET DRESS

 

POPE COLOR DESCRIPTION 0N PAGE-
Eegmel_flteee I
Choir Cassock and Cincture White 30-31
Surplice and/or Rochet White 32-31
Chimere Scarlet* 34
Buskins White 30
Pectoral Cross and Ring 25
Pontifical Hat Red 33
Informal Dress

Choir Cassock and Cincture White 30-31
Surplice and/or Rochet White 32—31
Almuce White 32
Skullcap White 25

*

 

 

CARDINAL COLOR DESCRIPTION 0N PAGE
Formal Dress

Choir Cassock and Cincture Red*‘ 30-31
Surplice and/or Rochet White 32-31
Chimere Scarlet 34
Buskins Red* 30
Pectoral Cross and Ring 25
Broad-Brim Hat Red 33
Informal Dress

Choir Cassock and Cincture Red* 30-31
Surplice and/or Rochet White 32—31
Almuce . Red* 32
Square Cap Black 33

*

Options: black, purple, blue

Options: green, purple,’blue-violet, deep-orange

** Options: black, purple, blue

 

 

37

TABLE 3 (cont'd.)

 

 

BISHOP - ARCHBISHQP COLOR DESCRIPTION 0N PAGE

Formal Dress

 

Choir Cassock and Cincture Green* 30-31
Surplice and/or Rochet White A 32-31
Chimere Black** 34
Buskins Green* ‘ 3O
Pectoral Cross and Ring . 25
Broad-Brim Hat Green 33

Iaiem.a.1.-.0_re.s_§.

Choir Cassock and Cincture Green* ' 30-31
Surplice and/or Rochet ' White 32-31
Almuce Green* 32
Square Cap Black 33

*

Options: purple, red, blue-violet, deep-orange

** Options: scarlet, purple, blue

 

PRIEST COLOR DESCRIPTION ON PAGE
Choir Cassock and Cincture Black 30-31
Surplice . - White 32

Tippet and/or Hood ‘Black , ’ 32-33

Square Cap Black 33

*

Options: red, green, white, black, yellow, gold

CHAPTER III
DRESS OF THE RELIGIOUS ORDERS ~,MONKS AND FRIARS

In contrast to the dress of the pope, cardinal, bishop and _
priest the costume of monks and friars is very simple. Some information
about monks and friars as members of religious orders precedes the
description of their costume. .Table 4 indicates some of the more
popular religious orders in existence during the twelfth to the sixteenth
centuries. The colors of the garments worn by the men in these religious
orders and the page number on which a description bf each particular
piece of costume is located, is included in Table 4. Plates following
the text serve to illustrate the garments in a visual way.

The members of the clergy, pope, cardinal, bishop and priest were
celibate men who worked for the church without professing vows of
poverty or obedience even though.they were accountable to higher authority.
These clergyman had a great deal of independence opposed to their counter- .
parts, monks and friars.

Monks and friars are groups of men under vows of poverty, chastity
and obedience, who are either living together or apart in hope of
earning their salvation by prayer and contemplation allied to good works.
Monks can trace their heritage to the second and third centuries while
friars came into existence in the thirteenth century. Friars are
different than monks because beyond their actual house they have no

prOperty, but live on aims. The friars’ work is individual and lay

38

39

mainly without the house while the monks labor within the confines of
the monastery. The friars were much more popular in medieval life than
the monks because they were brought into contact with the populace at
large, to whom they appealed for the means to exist,-and to whom they
ministered indiscriminately. For this reason the friars figure more
prominently in art and in literature from the thirteenth century to the
present day.

Because of the simplicity of their costume, a consideration of the
garb of monks and friars is not a difficult undertaking and there is
great similarity in dress. In the event that the monk or friar is an
ordained priest he vests just as the priest does for the celebration of
the Mass. There is no distinction in Mass vestments between the pope,
cardinal, bishop, priest and the members of religious orders. The
ceremonial as well as the choir and street dress of the religious orders
is always the same and very simple.

‘flabit and_girdle. - The basic dress of the monks and friars is a

 

coarse tunic garment usually referred to as a habit. The habit is a
large, loose, ankle-length gown, with full hanging sleeves. (See Plates
I, II, Figures 7, 8, and Appendix B.) The color of the habit varies
with the different groups or orders Of men, but usually it is black,
brown, grey or white. The habit is tied around the waist with a long
piece 6f leather or cord called a girdle.
Scapular. - Over the habit monks and friars wear a scapular.
(See Plate VI and Figures 7, 8.) The scapular is a long piece of material,
back and front, with a circular neck hole. The scapular is sleeveless
and is worn by slipping it on over the head so that it falls over the

habit and hangs freely back and front.

40

993;. - Most monks and friars also wear a cowl. The cowl is a
short, elbow-length cape with a hood. (See Plates I, II, VI, Figures 7, 8,
and Appendix B.) The cowl and the scapular match the habit in color
and material. The cowl is pulled down on the head around the shoulders
and over the habit and scapular. For warmth and for some church
ceremonies the monk or friar may pull the hood of the cowl over his head.

glggk, - To complement this dress some of the orders wear a cloak
or mantle over their habit, scapular and cowl. This cloak is a long
circular cape covering the entire body although it is usually worn so
that the front of the habit shows. '(See Plate VI and Figure 8.) The
cloak or mantle also has a hood attached to the back of the collar. .In
some cases the cloak matches the habit in color and in other cases it is
of contrasting color. The cloak is worn when the friar or monk is out-
of~doors and for ceremonial occasions.

Footgegg. - Monks and friars usually wear plain sandals on their
bare feet. Sandals are made of brown or black leather.

For most practical purposes monks and friars almost always appear
on the stage in the traditional robes of their religious orders. The
dress of these men has always been simple and poor and therefore is
very easy to construct for stage costume. With the exception of the
cowl, the habit, scapular and cloak have simple and straight lines; all

garments are usually made from coarse cloth of a dark color.

41

TABLE 4

RELIGIOUS ORDERS OF MEN

 

 

 

 

COSTUME COLOR DESCRIPTION ON PAGE “
.BEEEQICTINE MONKS

Habit ' Black _ 39

Girdle Black 39

Scapular Black 39

Cowl Black 40
CISTERCIAN MONKS

Habit ' White ' 39

Girdle White 39

Scapular Black 39

Cowl White 40
FRANCISCAN FRIARS

Habit Brown or Grey 39

Girdle White 39'

Cowl Brown or Grey 40

(Hood long and pointed to the waist)

DOMINICAN_FRIARS

 

Habit White 39
Girdle Black 39
Scapular White , 39
Cowl White 40
Cloak ' Black 40

CARMELITE FRIARS

 

Habit Black 39
Girdle ' Black 39
Scapular Black 39
Cowl Black 40

Cloak' White 40

CHAPTER IV
DRESS OF THE RELIGIOUS ORDERS - NUNS

The costume of the nuns is very similar to that of the monks and
friars. Dress again is simple and poor and in keeping with a Spirit of
humility. A brief summary of nuns in general will be followed by a
description of the special "uniform" common to religious women. Each
garment is described and then sighted in Table 5 so that the specific
religious order and its appropriate color is delineated. Plates that
follow the text visualize this costume.

In all ages women have played their part in monasticism. 'Women
who consecrated their virginity to God existed as early as the fourth
century. The history and the part played by nuns in the life of the
Western Church is one of continuous development and expansion.

During the twelfth and thirteenth centuries religious life for
women became more organized. As the various male monastic and mendicant
orders arose, a female branch was-in most cases formed along side of the
order.- These women were gathered together and bound under vows of
chastity, poverty and obedience. Their vows enabled them to live a life
of virginity, to surrender all personal goods and to live in community
under the government of a superior who personified the divine will.

Nuns usually lived in a cloister making fruitful the wandering apostolate
of the friars. In the late thirteenth century women consecrated to God

lived a more active apostolate, engaging in nursing the sick, caring

42

43

for the aged, and serving society in other humane ways.

The most well-known orders of nuns from the twelfth through the
sixteenth.centuries were the Benedictines, Poor Clares, Dominicans and
Carmelites. These orders were monastic in origin and their members were
garbed in a special "uniform" which was to distinguish them as women
consecrated to God.

£3215. - The basic dress of all nuns is a habit. The habit is
a coarse, large, loose gown, ankle-length and with full hanging sleeves.
(See Plate VII, Figure 9, and Appendix B.) The habit is usually fastened
around the waist with a long piece of leather or cord called a girdle.
The color of the habit varies with the different orders of nuns but it
usually is brown, black, grey or white.

‘ Scapular. - A scapular is worn over the habit. The scapular is
a long piece of material, back and front, with a circular neck hole.
The scapular is sleeveless and is worn by slipping it on over the head
so that it falls over the habit back and front. (See Plate VII, Figure 9,
and Appendix B.)

£322_, - The cappa is a short elbow-length cape or collar usually
fastened in the back. The cappa matches the habit and scapular in color
and material.

' Wimple. - The wimple is a woman's headcloth made of white linen.
It is drawn about the chin, covering the hair, chin and neck, and is a-
separate article of clothing worn under the veil. (See Plate VII and
Figure 9.)

221;, - The veil is a piece of material worn over the wimple so
as to fall over the head and shoulders on each side of the face, forming

a part of the headdress of nuns.~ A young woman who has not yet taken

44

vows as a nun but is living the life in a sort of internship is called
a novice and wears a white veil. When a woman professes final vows in
an order she takes the black veil of a nun.

Footgear. - Nuns either wore plain sandals on their bare feet
or a shoe made of leather or cloth.

The costume for nuns is simple and easy to construct. Since all
dress for nuns during the twelfth through the sixteenth centuries was
so similar, basic changes are only in color. Authenticity is easy to

achieve when costuming monks, friars, and nuns.

9.0. 5.2%

BENEDICTINE NUNS

 

Habit
Girdle
Scapular
Cappa
Wimple
Veil

POOR CLARES

Habit
Girdle
Wimple
Veil
Scapular

DOMINICAN NUNS

 

Habit
Girdle
Scapular
Cappa
Wimple
Veil

45

TABLE 5

9.9.99.8.

Black
Black
Black
Black
White
Black

Brown
White
White
Black
Brown

White
Black
White
White
White
Black

RELIGIOUS ORDERS OF NUNS

or Grey

or Grey

DESCRIPTION_ON PAGE

 

43
43
43
43
43
43

43
43
43
43
43

43
43
43
43
43
43

APPENDICES

46

APPENDIX A.
ART REPRODUCTIONS AND SKETCHES

The following plates illustrate the costumes described in
the text. Preceding the art reproductions is a short statement
about the painting and an identification of the ecclesiastical
costumes pictured in each particular painting. The sketches
included with the art reproductions identify more clearly the

different pieces of ecclesiastical garb.

47

PLATE I
THE LAST COMMUNION OF SAINT JEROME
Sandro Botticelli

Painted about 1495

In this painting acolytes carrying candles are garbed
in dark cassock and white surplice. There is some color and
decoration on the surplice but that is optional. The priest
giving the Eucharist to Saint Jerome is clothed in Mass vest-
ments: the alb, maniple and chasuble are visible.’ Both the
chasuble and alb are trimmed in blue, a variation that differs
from country to country. The two monks supporting Saint Jerome
are clothed in brown habit, scapular and cowl. Each figure in
this painting has a tonsured head. Each head is bare and without
a skullcap even though the artist has painted some of the ton-

sured heads with a bluish cast.

v .(.\V.

 

49

FIGURE 1

Chafiuhlc

 

if“ ’

i‘ m

L'

W
MAN

I; "s‘

h. “J,
I‘.'.“'1.E“'
gag—Nu“

N]:
l
in

[I

 

19W

' 1
A

h???

\

l

O

* lb
./A

' A

’1
.
T

\

 

 

k
Pam-“-
- ’ _ -
.. __ _ ‘
l
A “fir-
u “d

9

O

«3

._
.33
S,
is

 

PRIEST AT MASS

50

HGURE 2

 

 

 

 

 

 

BISHOP - CEREMONIAL DRESS

51

PLATE II
BURIAL OF COUNT ORGAZ
El Greco

Painted 1586

A friar and a monk stand at the lower left hand corner of
this painting. A Franciscan friar dressed in the grey habit and
cowl of his order listens to a Benedictine monk dressed in a
black habit and cowl. Saint Stephen and Saint Augustine carry
Count Orgaz to his final resting place. Saint Stephen is clothed
in a richly brocaded version of the rochet while Saint Augustine
is costumed in the customary bishop's robes, a cope and mitre.
Two priests stand at the right of the scene. The first is clothed
in a black cassock and white surplice and the second is wearing
the black cassock and cope. It is interesting to note that the
copes are richly brocaded and that there is much detail in em-

broidery and design.

 

53

PLATE III
THE MADONNA WITH SIX SAINTS
Sandro Botticelli

Painted about l487

In this painting the virgin clothed in blue and enthroned
in a towering niche has on her right, Saint Barnabas, Saint
Augustine, and Saint Catherine of Alexandria; on her left stands
John the Baptist, Saint Ignatius and the archangel Michael.

' Saint Augustine is clothed in a black cassock and white
rochet: over this is a cope made of plain red material but

bordered in gold with colorful detail. The cope is fastened

loosely at the neck so that the rochet shows quite plainly. The .

Bishop Augustine wears a mitre on his head.

A Saint Ignatius also wears a cassock and rochet and plain
red cope bordered in gold. His cope is fastened so that the
rochet does not show except at the feet. Ignatius also wears the

traditional Bishop's mitre on his head.

 

1|

 

55

FIGURE 3

 

Surplice/J

 

 

assock

 

CARDINAL - CHOIR AND STREET DRESS

56

PLATE IV
DON FERNANDO NINO DE GUEVARA
El Greco

Painted 1596 - 1604

Here in the magnificent crimson and lace of the office of
cardinal is Don Fernando De Guevara. Don Fernando is dressed in
the traditional choir cassock and white rochet; the matching
chimere and almuce complete his ecclesiastical robes. On his
head Don Fernando wears a version of the square cap which has been
stiffened and consequently stands higher on the head. It is in-
teresting to note that the Cardinal is also wearing spectacles
which probably gained prominence following the publication of

Roger Bacon's Opus ngus in the thirteenth century.

 

.Besides wearing the usual bishop's ring on the fourth
finger of the right hand, Don Fernando has a number of other gems
on his fingers; this is either a local deviation or a sign of his

own eccentricity.

 

 

 

58

PLATE V

CARDINAL THOMAS WOLSEY

'This print of Cardinal Wolsey pictures him in his almuce
and square cap. Both the almuce and cap are crimson in color;
the rochet which shows under the almuce is white. Note that this
version of the square cap fits the head snugly and is pulled down
about the ears. Beneath the bust of Wolsey are the symbols of
his office: the crozier, the broad-brim, low-crowned hat, red in
color and trimmed in red and gold cord, and the mitre for cere-

monial occasions.

 

\\ "
\\SR§§§§qu.'“3%%

.; ~\\\\ \“ ‘\

, . \5‘.~\\.\‘~ \~"//

~ \ ‘\
\ , ‘-\"//

\

.4'

..—, ”I “\ \A‘ .‘.'.,I . ~ ._' r;.4__.- “ . .
,'. _.~‘-‘\\\‘~\ ,. .. . p ' '7 -. __ . .. , ..
. ~i ' ' ' '_ '> ,,. ,‘-- I. ‘. .' ‘ " ‘4 a, W ‘
. . : 'f ' - A .1 I"
.. '_ .‘I .“ ‘ a ' I l ’4" //

‘-\\“\.-:\
\St .'\

\ fl, \.. ‘33—;
\ “;—_;”’-
\ fl

.‘ u\ ‘
3‘9}? .
_ _- ‘3

"n

u‘
.x\

1’1"»
’3‘

.-‘.{o&‘vw

 

60
FIGURE 4

’—
Broaoi‘” BTU") I .

Low ’CTOW9?C' ‘
«A

Hat A‘

7

 

      
 
 

!

 

  

Cappa MM

 

   

 

l 7/: ' . - I
. . 7.. . '4’ “i ’ J I 1
1]) - .’ "die-Lt $1.. -;I!'.:"'1-m" '7‘.."‘.’"‘ ’4 tw‘

CARDINAL - CBREMONIAL DRESS

 

 

61

FIGURE 5

   

SQMBI‘Q Cup

S‘s f pin-Ce

 

 

 

Gown

Cassoc

PRIEST - CHOIR AND STREET DRESS

an.

62

FIGURE 6

Skull Cap fl

 

agicliopz

 

 

 

oh‘ Cassods

 

POPE - CHOIR AND STREET DRESS

63

FIGURE 1

1%

Haul

 

MONK

___. rm

 

64

PLATE VI
PRAY HORTENSIO FELIX PARAVICINO
El Greco

Painted 1604 - 1609

Fray Hortensio Felix Paravicino is a monk of the Trini-
tarian Order. He is costumed in a white habit, cowl and scapular.
On his scapular is a red and blue cross; this is a good example
of the minor deviations in decoration from order to order. The

heavy, dark cloak completes the dress of the monk.

.Sr.

.. .. .1. ,
5.... Elm... 3%....

an ..a nexus...
i

.. It
Gyrsw

 

66

FIGURE '5

 

 

 

 

 

FRIAR

67

PLATE VII

NUNS

I The nun on the left is clothed in a white habit and
scapular; the girdle about her waist is made of leather. She
wears a black cloak over her costume. Her head is covered with
a white wimple and her veil is sheer and black, loosely fitted
so that it may be pulled down over her face.

The nun in the center of the print is clothed in black
habit and veil. She is not wearing a scapular but does have a
girdle about her waist to which is attached a rosary. The white I
wimple about her face is brought down rather low under her chin
in order to form a sort of white collar.

. The nun on the right is also clothed in black habit,
scapular and veil. She has a white wimple about her face and
her veil is lined with white linen. Usually nuns wore sandals

on their bare feet.

68

. ,
{cues-use ..

 

.I .I

. . .
11. . r .17. 14.1 .../...n

04

 

,

.ll‘ll

Ilaltfl.m.t..s.z..,_ .

. {fl-(391M ...
. 0

AI}... 5...”.

(

-Illll.‘
.. .i.
_. c

.

lilit

.

.93..
.._..

  

a. 4.. ._
x .

 

69

FIGURE ‘

ail

 

 

 

 

 

 

70

APPENDIX B
PATTERNS

The following graphs provide basic patterns for some pieces'

of ecclesiastical garb. These patterns are not sophisticated,

detailed examples of commercial patterns, but with a little

knowledge in sewing and costume construction they will be an

adequate guide for the costumer's use. Costumes such as the alb,

cassock and habit can be made from commercial patterns of straight

lined coats and dresses. Hoods might also be more easily con-

structed from contemporary patterns. In most instances howeVer,

the following sketches are sufficient and simple enough to serve

the needs of those involved in constructing costume.

I

 

 

71

Graph 1

 

 

 

Scale: Two inches to a Square

 

ALB

72

Graph 2

 

 

 

 

 

 

 

 

Scale: One Inch to a Square

 

 
  

73

Graph 3

 

Place on Fold

 

 

 

Use of the Half Circle

Scale: Two Inches to a Square

  

 

 

‘4? L—
r'.

 

9:...

74

Graph 4

:92 w

029

‘N?
--

 

 

Use .9":h. Half Circle 1

Scale: Two Inches to a Square

COPE '

 

 

 

I
4 . i .
l I
wthI—Q-Fr-h—‘HW. v A -.. -. .4 o . + 4 .

 

 

 

 

 

Full Circle (Dotted lines
.indicate Cardinal's arm . __

Openings.)

 

 

Scale: Twh Inches to a Square.

    

 

   

CAPPA.MAGNA CAPE FOR CASSOCK
. Three-quarter Circle and Circular Cape or Cap Sleeve

Scale: Two Inches to a Square

77

Graph 7

 

 

......

Diagram for Cutting Fitted Garments

Scale: One Inch to a Square
Cut and Join an Diagonal Line

 

   

 

 
 

§v\|. “.“‘\ ss
.

 

 

CAPE FOR CASSOCK

._.

- -_. -

Three-quarter Circle and Circular Cape or Cap Sleeve

Scale: Two Inches to a Square

 

 

77

Graph 7

 

 

a o 4 . - s -

Diagram for Cutting Fitted Garments

Scale: One Inch to a Square
Cut and Join an Diagonal Line

78
Graph 8

 

 

 

skirt

skirt

 

sleeve

 

 

 

 

 

HABIT

 

Oval with Straight Sides

Scale: Two Inches to a Square

79

Graph 9

 

 

 

SURPLICE - ROCHET

Scale: Two Inches to a Square

 

. . . . . a . ._ . I - .. -— -~ -
. . . . . . . . .. . _ -.
. . - . r. . _. - .. . 7. -..
. . ‘ . . o r - . .

8O

Graph 10

 

 

 

FERRAIOLO

 

Half Circle Cut with Front Panels

Scale: Two Inches to a Square

81

Graph 11

 

 

 

 

 

CAPEDGOWN

(Hood is illustrated on Graph 12.)

 

 

Scale: Two Inches to a Square

8:2

Graph 12

 

noon

Stitch on dotted line.

Scale: One Inch to a Square

83

APPENDIX C
SELECTED PLAYS

The following plays involve ecclesiastical characters.
These dramas were either set in the twelfth through the sixteenth
centuries or were included if the costumes described in this paper
would be applicable to other centuries and characters. The
appendix does not contain all possible plays but does provide a-

selection of dramas involving monks, nuns and other members of

the clergy.

84

APPENDIX C

SELECTED PLAYS

Anonymous

AnOnymous

Anonymous

Anouilh, Jean

Ayme, Marcel

Bolt, Robert
Claudel, Paul
Forsyth, James
Hockhuth, Rolf

Luke, Peter
Machiavelli, Niccolo
Marlowe, Christopher
Marlowe, Christopher
Marlowe, Christopher
Marlowe, Christopher
Martinez, Gregorio and Maria
Osborne, John
Rostand, Edmund
Shakespeare, William

Shakespeare, William

Selected Folk Plays
A_Merry Play Between Tyb,
His Wyfe and Johan,_the Husbande
and Syr Johan the Priest

 

 

Robin Hood and the Friar

Sepulchrum

 

The Lark

Clerambard

 

A Man for All Seasons

The Tidings Brought to Mary
Heloise

The Deputy

Hadrian VII

The Mandrake

 

Edward the Second

 

‘ The Jew of Malta

 

The Massacre at Paris

 

The Tragical History of Doctor Fgggus
The Cradle Song
Luther

Cyrano de Bergerac

 

Twelfth Night

 

Measure for Measure

Shakespeare,
Shakespeare,
Shakespeare,
Shakespeare,
Shakespeare,
Shakespeare,
Shakespeare,
Shakespeare,
Shakespeare,
Shakespeare,
Shakespeare,
ShakeSpeare,
Shaw, George

Ustinov, Pete

Von Schiller, Friedrich

William

William

William

William

William

William

William

William

William

William

William

William

Bernard

r

Wasserman, Dale

Webster, John

85

Much Ado About Nothing_

King‘John

 

The Life and Death of King Richard II

First Part of King Henry IV

 

 

Second Part of King Henry‘IV

King_HenrygV

 

First Part of King Henry VI

Second Part of King_Henry VI

 

Life and Death of King_Richard 111'

King Henry VIII

 

Romeo and Juliet

 

Hamlet, Prince of Denmark

 

Saint Joan

 

Romanoff and Juliet

 

Don Carlos

 

Man of La Mantia

 

 

‘The Duchess of Mali;

BIBLIOGRAPHY

86

BIBLIOGRAPHY

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Barton, Lucy. Historic Costume_for the Stage. Boston: Walter H.
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Brooke, Iris. Wgstern European Costume. New York: Theatre Arts
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Compton, Piers. The Great Religious Orders. London: Elkin
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Contini, Mila. Fashion from Ancient Egypt to the Present Day,
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Dearmer, Reverend Percy. The Ornaments of the Ministers.
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Elicker, Virginia Wilk. Biblical Costumes for Church and School.
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Guillemain, Bernard. The Early Middle Ages. New York: Hawthorne
Books, 1960.

 

Cuillemain, Bernard. he Later Middle Ages. New York: Hawthorne
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Hansen, Henry Harold. Costumes and Styles. New York: E.P. Dutton
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Hartley, Dorothy. Mediaeval Costume and Life. London: Charles
Scribner's and Sons, 1931.

Hutchinson, Paul, and Garrison, Winfred E. Twenty Centuries of
'Christianity, New York: Harcourt Brace and Company, 1959.

 

 

Lambourne, Norah. Dressing the Play. New York: The StuHio
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Lesage, Robert. Vestments and Church Furniture. New York:
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Macalister, R. A. S. Ecclesiastical Vestments - Their Developmggg
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87

Malard, Suxanne Cita. Religious Orders of Women. New York:
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Marty, Martin E. A Short History_of Christianity. New York:
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Mc Cloud, Reverend Henry J. Clerical Dress and Insignia of the
Roman Catholic Church. Milwaukee: The Bruce Publishing
Company, 1948.

 

 

Murray, Peter and Linda. The Art of the Renaissance. New York:
Frederick A. Praeger Publishers, 1963.

 

Nainfa, John Abel. Costume of Prelates of the Catholic Church.
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Norris, Herbert. Church Vestments Their Origin and Development.
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Payne, Blanche. History of Costume. New York: Harper and Row
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Prisk, Berniece, and Byers, Jack A. Costuming. New York: Richards
Rosen Press, Inc., 1970.

R003, Frank J. Jr. An Illustrated Handbook of Art History, London:
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Roulin, Dom E. A. O. S. B. Vestments and Vesture. Translated:
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Press, 1950.

 

Sohm, Rudolph. Outline of Church History, Boston: Beacon
Press, 1958.

Tyack, Reverend George 8. ‘Historic Dress of the Clergy. ~London:
William Andrews and Company, 1897.

 

Upjohn, Everard M., and Sedgwick, John P. Jr. Highlight: An
Illustrated History of Art. Chicago:. Holt, Rinehart and
Winston, 1966.

 

Walkup, Fairfay Proudfit. Dressing the Part. New York: Appleton-
Century-Crofts, Company, Inc., 1950.

 

Young, Agnes Brooks. Stage Costumigg,' New York: The MacMillan
Company, 1927.

Zierner, Laura. Costuming_for the Modern Stage, Urbana: The
University of Illinois Press, 1957.

 

RGUND RY

 

”'TITI'I‘I‘HflHruijM/Ifl filitllliflfl min 1W M“