462 COSTUME [ECCLESIASTICAL. as in fig. 18 drawn from a brass at Horsham, This effigy also shows in what manner the alb, amice, and maniple are worn, and it may xulvanta<* eously be compared with fig. 20, also drawn from a brass to Peter 3 de Lacy, rector of Northfleet, in Northneet Church, in which the stole for the most part is covered by the chasuble. Its ancient name orarium, equivalent to our "handkerchief," shows the mediaeval stole to have been designed as well to wipe tho face as, in accordance with primitive usage, to cover it when, offering prayer. For deacons it was appointed to wear the stole depending from over the left shoulder only, so as to show but one end of it on the front of their persons (fig. 19). The idea of a connection in the significance of the stole to denote dignity with the ribband worn as a knightly distinction is obvious. 3. The Maniple. A short species of stole, the representative of the ancient mappula and its successor, the maniple, which is worn so as to hang from the left wrist, may be considered to have been substituted in the first instance for the purposes to which the stole itself originally had ~ ^ T) eacon been applied. Like the stole, however, the Qfn ce t maniple, regarded as one of the ecclesiastical vest- *" ments as early as the 9th century, soon became merely a decorative accessory of the official costume of ecclesiastics (see figs. 18, 20). 4. The Chasuble. This super- vestment, worn over the alb and the stole, and by ecclesiastics of episcopal rank also over the dalmatic and tunic, which in the llth century was expressly associated with the ecclesiastical office, is identical with the casula of the 9th century and, through it, derived from the planeta of still earlier times. Both planeta and casula, however, as over garments furnished with a hood which would envelop the entire person, were worn by laymen, the chief if not the only distinction between these two garments being that the former from its greater costliness was in use by persons of rank and wealth, while the latter was adopted by the humbler and poorer classes. In form and general character both the planeta and the casula appear to have resembled the ancient poenula, an outer garment worn in Italy long before our era, and of which the memory still survives in the title of the ecclesiastical super -vestment of the East. Circular or oval in form, and having in the centre an aperture for the head of the wearer to pass through, the chasuble covers the arms as well as the body, so that when they are raised it falls over the arms both before and behind. Made of various materials and of diffe rent colours, in early representations of it this vestment is constantly found to have been elabo rately adorned with embroideries and other decora tive accessories, also with a profusion of orfreys in gold and silver work enriched with gems (fig. 20). A favourite form of chasuble-orfrey, evidently an imitation of the archiepiscopal pall, encircles the head-aperture and, passing over the shoulders of the wearer, falls in a straight line down both the back and the front of his person. 5. The Amice. First mentioned as a vestment in the 9th century, and from the following century enriched with apparels, when opened out the amice was square in shape, and it was adjusted precisely after the manner of its present adjustment, beneath both alb and chasuble, about the throat and over the shoulders. In monu mental effigies the apparel of this vestment is represented either falling back from the throat of the wearer, or, in the later examples, standing up somewhat stiffly around it ; and this position ^ _ over the chasuble sometimes has suggested the ? >. > mistaken idea that the apparel of the amice J r f at , North - f orms a collar to the chasuble itself. By holding Jf* 1 ,, showin S it for a few moments over the head at the time of putting it on, the amice in course of time was considered to symbolize the Christian helmet (see fig. 20). 6. The Dalmatic, a full-sleeved tunic reaching about to the knees. Long after its adoption as an ecclesiastical vestment, the dalmatic continued in use in Rome as a garment appropriate for secular officials on occasions of ceremony and state; and at the present time it continues, as it continued through the Middle Ages, to be a royal robe as well in England as on the Con tinent. _ Like the other ancient vestments, originally white and plain, in the 10th century the dalmatic assumed various colours, and in the 12th and the succeeding centuries it followed 1 he colour of the chasuble. Appointed to be worn by deacons over the alb as the distinctive vestment of their order, when made of costly materials and richly adorned the dalmatic was added to their official costume by prelates, by them to be worn immediately under the chasuble. In early episcopal effigies the lower part of the dalmatic is represented, appearing beneath the chasuble, richly fringed and partially slit up at the sides, as in fig. 21, drawn from the corresponding part of the brass to Thomas Cranley, arch bishop of Dublin, in the chapel of New College, Oxford, 1417. Nearly a century earlier (1325), in the cathedral of St Nazaire at Carcassonne in France, the statue of Bishop Pierre de Roquefort, which is without the chasuble, shows with admirable distinctness the form and adjustment of the episcopal dal matic, with the tunic appearing beneath it, the ends of the stole being visible issuing from beneath them both. The large sleeves of the dalmatic and the tight sleeves of the tunic are shown at the wrists, and from the left wrist the maniple hangs down (fig. 22). Over the other vestment (as in fig. 18) is a cope, fastened across the breast with a morse charged with an Agnus Dei. The prelate wears his mitre, and in his hand he holds his pastoral-staff. In England, in Norwich Cathedral, there is a similar example of the p 21 __ episcopal habit in the effigy of Pl Bishop Goldwell (1498), which re presents both dalmatic and tunic as shorter than in the French statue; the dalmatic also has a broad central vertical band of rich embroidery, and at the wrists the sleeves of the alb, tunic, and dalmatic are shown. Figures of deacons, rare in mediaeval art, when they occur generally profess to represent St Lawrence, with the instrument of his martyrdom. In fig. 23, reduced bra< ., at Ox Sal FIG. 22. Showing Dal matic, &c. (After Viollet-le-Duc^ Fid. 23. From vellum drawing at Lambeth, showing Dalmatic, &c. from a drawing on vellum in a MS. of the 13th century in the Lambeth Library, the dalmatic, which is nearly as long as the unusually short alb, is shown as it was ornamented and worn at that period. Another good example, much later in date, also a figure of St Lawrence, is sculptured in one of the canopied compartments of the monumental chantry of Prince Arthur Tudor in Worcester Cathedral. Fig. 19, from the Liber Pontificalis of Landolfus, a MS. of the 9th century, shows how the stole was disposed over the left shoulder by a deacon wearing an alb and a dalmatic. 7. The Tunic. The vestment distinguished by this name, worn by prelates between the alb and the dalmatic, is rather longer than the vestment last named, and its sleeves also are somewhat longer and not quite so full. As the vestments increased in number, and at the same time became less simple and more splendid, the gradual addition of one tunic after another, to be traced from the 9th cuitury downwards, was strictly in keeping with the spirit of the times. Early in the 14th century it had a remarkable parallel in the succession of surcoats, with which, regardless of their palpable inconvenience, the knights covered their armour. It is specially curious to observe how studiously the men-at-arms carried out their imitation of the ecclesiastical vestments of their day, by making each one of their successive surcoats in front of their persons shorter than the one beneath it, so displaying them all. In the case of
the ecclesiastical vestments, the tunic proper, become distinctively