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cope
cope
Artist: Unknown Artist
Date: 1400-1599
Dimensions:
L 296.5 x W 148 cm (L 116 3/4 x W 58 1/4 in.)
Medium: Gold and red silk velvet brocade, applied embroidered panels with metallic threads and polychrome silk
Credit Line: Acquired by Archer M. Huntington for the Hispanic Society, 1912.
Place Made:Spain, Valencia
Period: Renaissance
Culture: Spanish
Not on View
DescriptionCope
Valencia or Granada?, 15th–16th century
Terciopelo de seda labrado, cortado a dos alturas con tramas brochadas y anilladas de hilos metalicos entorchados. bordado de imagineria con hilos metalicos y sedas policromas. siglos XV-XVI (2011)
Gold and red silk velvet brocade, applied embroidered panels with metallic threads and polychrome silk, 148 × 296.5 cm
New York, The Hispanic Society of America, H3932
"cope complete with orphreys and hood, which is in the collection of the Society and which is similar to one belonging to the Garland collection, dispersed in 1924. the brocade has the gold threads both plain and in loops. the floriated pomegranates are of gold within lobate borders of red velvet , woven pile on pile, giving a sheen as of damask" May Handbook
PROVENANCE: Raimundo de Madrazo y Garreta to 1912; acquired by Archer M. Huntington, New York, for The Hispanic Society of America, 1912
During the 15th and early 16th centuries luxurious velvet textiles, favored by monarchs, nobles, popes, and prelates, were produced at silk-weaving centers in Barcelona, Granada, Seville, Toledo, and Valencia. The two dominant patterns found on these textiles are known as griccia and ferronerie, both of which utilize as the principal motif the pomegranate, of Middle Eastern origin. Of the two, the griccia pattern is the most exuberant, incorporating conventionalized natural forms of undulating stems, pomegranates, leaves, pinecones, as well as thistle and lotus blossoms. The ferronnerie pattern, a generally more austere design, takes its name from the designs found on Middle Eastern metalwork. This spectacular cope is made of red silk velvet of two heights (pile-on-pile), with layered hem as well as raised and looped wefts of braided metallic threads, in a unique combination of both ferronerie and griccia patterns. The cope is comprised of five wide bands of velvet with sewing on the selvages. The central band is of greatest size, each band diminishing in size toward the outer edges in order to form a semicircular shape. A dense griccia pattern of undulating stems covers the entire surface of the velvet. Standing out in the design is the ferronnerie pattern executed in gold threads of flowering pomegranates in large circular compartments. These are the center of attention, although smaller seeded pomegranates surround the large compartments, and the smaller ogival compartments are populated with other pomegranate motifs, some with seeds. The pomegranate is a symbol of the Church in its unity and diversity.
The pluvial cope is a semicircular cloak, open at the back, which covers the wearer’s body almost touching the ground. In the front, an embroidered belt or sash generally would be worn; and in the back, a hood or shield. It fastens over the chest with a clasp. It is called “pluvial” (derived from pluvia, “rain” in Latin) because it was originally used to protect against rain when walking outdoors. In the Catholic Church, the pluvial cope is an ornament used in liturgical ceremonies. Different ministers of the Church wear it, from the Pope to cantors when celebrating the divine office of lauds and vespers, Mass, and processions inside and outside the church. However, copes this magnificent only would be worn by prelates or abbots.
The embroidery of the wide band—done with metallic threads and polychrome silk—is divided in six rectangular compartments, separated by braids, within which are represented various scenes of the life of Christ. This band falls in front of the wearer of the cope, one side over the other, so that three scenes are displayed on each side. All appear under an arch crowned with a leafy urn. On the left side, from the top down, area scenes of the Annunciation (Luke 1:26–38), the Visitation of Mary to her holy cousin Elizabeth (Luke 1:39–56), and the meeting between Joachim and Anna at the golden gate of Jerusalem. The names of Joachim and Anna do not appear in the canonical gospels, so this was inspired by the apocryphal gospels, in particular the Infancy Gospel of Saint James (Santos Otero [ed.] 1991, pp. 130–43). On the right side, also from top to bottom, are scenes of the Birth of Christ (Luke 2:1–7), the Adoration of the Magi (Matthew 2:1–12), and the Presentation at the Temple (Luke 2:22–39).
Ever since Pope Innocent III (1198–1216) chose the liturgical colors for the Roman Catholic Church, red—symbolic of fire, blood, and royalty—has been used in the festivals of the martyrs, apostles, and evangelists as well as on Pentecost, when the Holy Spirit descended upon the apostles in the forms of tongues of fire. CdA
Texto en Español:
Esta suntuosa capa está hecha de terciopelo rojo de seda, labrado y cortado a dos alturas, con tramas brochadas y anilladas de hilos metálicos entorchados y con compartimentos de estilo picado o ferronerie y de griccia. En su confección se han utilizado cinco anchas bandas de terciopelo cosidas en sus orillos, la central de mayor tamaño, disminuyendo las de las orillas para formar el semicírculo. En el diseño del terciopelo destacan las prominentes granadas floreadas, resaltadas por el fondo dorado que las enmarca, y que son el centro de atención, además de otras muchas granadas más pequeñas, algunas con pepitas, dispersas en varios niveles por toda la superficie. La granada es símbolo de la Iglesia en su unidad y en su diversidad.
La capa pluvial es un manto semicircular, abierto por delante, que cubre el cuerpo del portador y llega casi hasta el suelo. En la parte frontal suele llevar una banda bordada y a la espalda un capillo o escudo. Se sujeta en el pecho con un broche. Se llama «pluvial» porque en su origen servía para protegerse de la lluvia, pluvia en latín, cuando se caminaba al aire libre. En la Iglesia católica, la capa pluvial es un ornamento que se utiliza para las ceremonias litúrgicas. La visten diversos ministros de la Iglesia, desde el Papa hasta los cantores para celebrar el oficio divino de los laudes y las vísperas, la misa y las procesiones dentro o fuera de la iglesia. Sin embargo, capas con esta magnificencia solo las vestían los prelados y los abades.
El bordado de la ancha banda, realizado con hilos metálicos y sedas polícromas, está dividido en seis compartimentos rectangulares separados por galones y en ellos se representan diversas escenas de la vida de Cristo. Esta banda cae por delante a un lado y al otro del portador de la capa mostrando a cada lado tres de las escenas. Todas ellas se han realizado bajo un arco coronado por una urna con follajes. En el lado izquierdo se ha diseñado, de arriba abajo, la Anunciación (Lucas 1, 26-38); la Visitación de María a su prima santa Isabel (Lucas 1, 39-56) y el encuentro de Joaquín y Ana en la puerta dorada de Jerusalén. Los nombres de Joaquín y Ana no aparecen en los evangelios canónicos y es un motivo inspirado en los evangelios apócrifos, en particular en el Protoevangelio de Santiago (Santos Otero [ed.] 1991, pp. 130-143). En el lado derecho, también de arriba abajo, se ha representado el Nacimiento de Jesús (Lucas 2, 1-7); la Adoración de los Reyes Magos (Mateo 2, 1-12) y la Presentación en el Templo (Lucas 2, 22-39). Desde que el papa Inocencio III (1198-1216) escogiera los colores litúrgicos en la Iglesia católica romana, el color rojo, símbolo del fuego, la sangre y la realeza, se utiliza en las festividades de los mártires, los apóstoles y los evangelistas y en la fiesta de Pentecostés, cuando el Espíritu Santo descendió sobre los apóstoles en forma de lenguas de fuego. CdA
BIBLIOGRAPHY:
HISPANIC SOCIETY OF AMERICA 1938 The Hispanic Society of America Handbook: Museum and Library Collections. New York: The Hispanic Society of America, 1938, p. 281
HISPANIC SOCIETY OF AMERICA 1954 History of the Hispanic Society of America: Museum and Library, 1904-1954. New York: The Hispanic Society of America, 1954, pp. 152, 168, fig. 130
MAY 1957 Florence Lewis May, Silk Textiles of Spain, Eighth to Fifteenth Century. New York: The Hispanic Society of America, 1957, pp. 244-46
MARTIN 2006 Kristin M. Martin, “The Hispanic Society of America’s Collection of Fifteenth- and Sixteenth-Century Ecclesiastical Textiles,” thesis, New York, Bard College, 2006, p. 47
HEIMAN 2011 Marsha Heiman, “Terciopelos en la colección de la Hispanic Society of America,” in María Victoria Liceras and María Gertrudis Jaén (dirs.), L’art dels velluters. Sederia dels segles xv–xvi [Exh. Cat., Valencia, Centro del Carmen, 18 May–17 July 2011]. Valencia: Generalitat, Consorci de Museus de la Comunitat Valenciana, 2011, p. CI
LICERAS AND JAÉN ( DIRS. ) 2011 María Victoria Liceras and María Gertrudis Jaén (dirs.), L’art dels velluters. Sederia dels segles xv–xvi [Exh. Cat., Valencia, Centro del Carmen, 18 May–17 July 2011]. Valencia: Generalitat, Consorci de Museus de la Comunitat Valenciana, 2011, p. 44, no. 50
CODDING ( ED. ) 2017 Mitchell A. Codding (ed.), Tesoros de la Hispanic Society: Visiones del mundo hispánico. Madrid, New York: Museo Nacional del Prado, The Hispanic Society of America, 2017, pp. 164-65, no. 60
CODDING ( ED. ) 2018a [Spanish edition] Mitchell A. Codding (ed.), Tesoros de la Hispanic Society of America. Mexico City, New York: Museo del Palacio de Bellas Artes, The Hispanic Society of America, 2018, pp. 152-53, no. 60
CODDING ( ED. ) 2018b [English edition] Mitchell A. Codding (ed.), Visions of the Hispanic World: Treasures from The Hispanic Society Museum & Library. New York: The Hispanic Society of America, 2018, no. 60
Valencia or Granada?, 15th–16th century
Terciopelo de seda labrado, cortado a dos alturas con tramas brochadas y anilladas de hilos metalicos entorchados. bordado de imagineria con hilos metalicos y sedas policromas. siglos XV-XVI (2011)
Gold and red silk velvet brocade, applied embroidered panels with metallic threads and polychrome silk, 148 × 296.5 cm
New York, The Hispanic Society of America, H3932
"cope complete with orphreys and hood, which is in the collection of the Society and which is similar to one belonging to the Garland collection, dispersed in 1924. the brocade has the gold threads both plain and in loops. the floriated pomegranates are of gold within lobate borders of red velvet , woven pile on pile, giving a sheen as of damask" May Handbook
PROVENANCE: Raimundo de Madrazo y Garreta to 1912; acquired by Archer M. Huntington, New York, for The Hispanic Society of America, 1912
During the 15th and early 16th centuries luxurious velvet textiles, favored by monarchs, nobles, popes, and prelates, were produced at silk-weaving centers in Barcelona, Granada, Seville, Toledo, and Valencia. The two dominant patterns found on these textiles are known as griccia and ferronerie, both of which utilize as the principal motif the pomegranate, of Middle Eastern origin. Of the two, the griccia pattern is the most exuberant, incorporating conventionalized natural forms of undulating stems, pomegranates, leaves, pinecones, as well as thistle and lotus blossoms. The ferronnerie pattern, a generally more austere design, takes its name from the designs found on Middle Eastern metalwork. This spectacular cope is made of red silk velvet of two heights (pile-on-pile), with layered hem as well as raised and looped wefts of braided metallic threads, in a unique combination of both ferronerie and griccia patterns. The cope is comprised of five wide bands of velvet with sewing on the selvages. The central band is of greatest size, each band diminishing in size toward the outer edges in order to form a semicircular shape. A dense griccia pattern of undulating stems covers the entire surface of the velvet. Standing out in the design is the ferronnerie pattern executed in gold threads of flowering pomegranates in large circular compartments. These are the center of attention, although smaller seeded pomegranates surround the large compartments, and the smaller ogival compartments are populated with other pomegranate motifs, some with seeds. The pomegranate is a symbol of the Church in its unity and diversity.
The pluvial cope is a semicircular cloak, open at the back, which covers the wearer’s body almost touching the ground. In the front, an embroidered belt or sash generally would be worn; and in the back, a hood or shield. It fastens over the chest with a clasp. It is called “pluvial” (derived from pluvia, “rain” in Latin) because it was originally used to protect against rain when walking outdoors. In the Catholic Church, the pluvial cope is an ornament used in liturgical ceremonies. Different ministers of the Church wear it, from the Pope to cantors when celebrating the divine office of lauds and vespers, Mass, and processions inside and outside the church. However, copes this magnificent only would be worn by prelates or abbots.
The embroidery of the wide band—done with metallic threads and polychrome silk—is divided in six rectangular compartments, separated by braids, within which are represented various scenes of the life of Christ. This band falls in front of the wearer of the cope, one side over the other, so that three scenes are displayed on each side. All appear under an arch crowned with a leafy urn. On the left side, from the top down, area scenes of the Annunciation (Luke 1:26–38), the Visitation of Mary to her holy cousin Elizabeth (Luke 1:39–56), and the meeting between Joachim and Anna at the golden gate of Jerusalem. The names of Joachim and Anna do not appear in the canonical gospels, so this was inspired by the apocryphal gospels, in particular the Infancy Gospel of Saint James (Santos Otero [ed.] 1991, pp. 130–43). On the right side, also from top to bottom, are scenes of the Birth of Christ (Luke 2:1–7), the Adoration of the Magi (Matthew 2:1–12), and the Presentation at the Temple (Luke 2:22–39).
Ever since Pope Innocent III (1198–1216) chose the liturgical colors for the Roman Catholic Church, red—symbolic of fire, blood, and royalty—has been used in the festivals of the martyrs, apostles, and evangelists as well as on Pentecost, when the Holy Spirit descended upon the apostles in the forms of tongues of fire. CdA
Texto en Español:
Esta suntuosa capa está hecha de terciopelo rojo de seda, labrado y cortado a dos alturas, con tramas brochadas y anilladas de hilos metálicos entorchados y con compartimentos de estilo picado o ferronerie y de griccia. En su confección se han utilizado cinco anchas bandas de terciopelo cosidas en sus orillos, la central de mayor tamaño, disminuyendo las de las orillas para formar el semicírculo. En el diseño del terciopelo destacan las prominentes granadas floreadas, resaltadas por el fondo dorado que las enmarca, y que son el centro de atención, además de otras muchas granadas más pequeñas, algunas con pepitas, dispersas en varios niveles por toda la superficie. La granada es símbolo de la Iglesia en su unidad y en su diversidad.
La capa pluvial es un manto semicircular, abierto por delante, que cubre el cuerpo del portador y llega casi hasta el suelo. En la parte frontal suele llevar una banda bordada y a la espalda un capillo o escudo. Se sujeta en el pecho con un broche. Se llama «pluvial» porque en su origen servía para protegerse de la lluvia, pluvia en latín, cuando se caminaba al aire libre. En la Iglesia católica, la capa pluvial es un ornamento que se utiliza para las ceremonias litúrgicas. La visten diversos ministros de la Iglesia, desde el Papa hasta los cantores para celebrar el oficio divino de los laudes y las vísperas, la misa y las procesiones dentro o fuera de la iglesia. Sin embargo, capas con esta magnificencia solo las vestían los prelados y los abades.
El bordado de la ancha banda, realizado con hilos metálicos y sedas polícromas, está dividido en seis compartimentos rectangulares separados por galones y en ellos se representan diversas escenas de la vida de Cristo. Esta banda cae por delante a un lado y al otro del portador de la capa mostrando a cada lado tres de las escenas. Todas ellas se han realizado bajo un arco coronado por una urna con follajes. En el lado izquierdo se ha diseñado, de arriba abajo, la Anunciación (Lucas 1, 26-38); la Visitación de María a su prima santa Isabel (Lucas 1, 39-56) y el encuentro de Joaquín y Ana en la puerta dorada de Jerusalén. Los nombres de Joaquín y Ana no aparecen en los evangelios canónicos y es un motivo inspirado en los evangelios apócrifos, en particular en el Protoevangelio de Santiago (Santos Otero [ed.] 1991, pp. 130-143). En el lado derecho, también de arriba abajo, se ha representado el Nacimiento de Jesús (Lucas 2, 1-7); la Adoración de los Reyes Magos (Mateo 2, 1-12) y la Presentación en el Templo (Lucas 2, 22-39). Desde que el papa Inocencio III (1198-1216) escogiera los colores litúrgicos en la Iglesia católica romana, el color rojo, símbolo del fuego, la sangre y la realeza, se utiliza en las festividades de los mártires, los apóstoles y los evangelistas y en la fiesta de Pentecostés, cuando el Espíritu Santo descendió sobre los apóstoles en forma de lenguas de fuego. CdA
BIBLIOGRAPHY:
HISPANIC SOCIETY OF AMERICA 1938 The Hispanic Society of America Handbook: Museum and Library Collections. New York: The Hispanic Society of America, 1938, p. 281
HISPANIC SOCIETY OF AMERICA 1954 History of the Hispanic Society of America: Museum and Library, 1904-1954. New York: The Hispanic Society of America, 1954, pp. 152, 168, fig. 130
MAY 1957 Florence Lewis May, Silk Textiles of Spain, Eighth to Fifteenth Century. New York: The Hispanic Society of America, 1957, pp. 244-46
MARTIN 2006 Kristin M. Martin, “The Hispanic Society of America’s Collection of Fifteenth- and Sixteenth-Century Ecclesiastical Textiles,” thesis, New York, Bard College, 2006, p. 47
HEIMAN 2011 Marsha Heiman, “Terciopelos en la colección de la Hispanic Society of America,” in María Victoria Liceras and María Gertrudis Jaén (dirs.), L’art dels velluters. Sederia dels segles xv–xvi [Exh. Cat., Valencia, Centro del Carmen, 18 May–17 July 2011]. Valencia: Generalitat, Consorci de Museus de la Comunitat Valenciana, 2011, p. CI
LICERAS AND JAÉN ( DIRS. ) 2011 María Victoria Liceras and María Gertrudis Jaén (dirs.), L’art dels velluters. Sederia dels segles xv–xvi [Exh. Cat., Valencia, Centro del Carmen, 18 May–17 July 2011]. Valencia: Generalitat, Consorci de Museus de la Comunitat Valenciana, 2011, p. 44, no. 50
CODDING ( ED. ) 2017 Mitchell A. Codding (ed.), Tesoros de la Hispanic Society: Visiones del mundo hispánico. Madrid, New York: Museo Nacional del Prado, The Hispanic Society of America, 2017, pp. 164-65, no. 60
CODDING ( ED. ) 2018a [Spanish edition] Mitchell A. Codding (ed.), Tesoros de la Hispanic Society of America. Mexico City, New York: Museo del Palacio de Bellas Artes, The Hispanic Society of America, 2018, pp. 152-53, no. 60
CODDING ( ED. ) 2018b [English edition] Mitchell A. Codding (ed.), Visions of the Hispanic World: Treasures from The Hispanic Society Museum & Library. New York: The Hispanic Society of America, 2018, no. 60
Accession Number: H3932
In Collection(s)