been mentioned; it survived as a choir vestment that in winter
took the place of the surplice, rochet or almuce. In the 12th
century it was provided with arms (cappa manicata),
The
cappa
magna.
but the use of this form was forbidden at choir services
and other liturgical functions. From the hood of the
cappa was developed the almuce (q.v.). At what
date the cappa choralis developed into the cappa magna, a
non-liturgical vestment peculiar to the pope, cardinals, bishops
and certain privileged prelates, is not known; but mention of it
is found as early as the 15th century. This vestment is a loose
robe, with a large hood (lined with fur in winter and red silk in
summer) and a long train, which is carried by a cleric called the
caudatarius. Its colour varies with the hierarchical rank of the
wearer:—red for cardinals, purple for bishops, &c.; or, if the
dignitary belong to a religious order, it follows the colour of the
habit of the order. The right to wear a violet cappa magna is
conceded by the popes to the chapters of certain important
cathedrals, but the train in this case is worn folded over the
left arm or tied under it. It may only be worn by them, moreover,
in their own church, or when the chapter appears elsewhere
in its corporate capacity.
Lastly, from the cappa is probably derived the mozzetta, a short cape with a miniature hood, fastened down the front with buttons. The name is derived from the Italian The mozzetta. mozzare, to cut off, and points to its being an abbreviated cappa, as the episcopal “apron” is a shortened cassock. It is worn over the rochet by the pope, cardinals, bishops and prelates, the colours varying as in the case of the cappa magna. Its use as confined to bishops can be traced to the 16th century.
See Joseph Braun, S. J., Die liturgische Gewandung (Freiburg im Breisgau, 1907); also the bibliography to the article Vestments. (W. A. P.)
COPELAND, HENRY, an 18th century English cabinet-maker
and furniture designer. He appears to have been the first
manufacturing cabinet-maker who published designs for furniture.
A New Book of Ornaments appeared in 1746, but it is not
clear whether the engravings with this title formed part of a
book, or were issued only in separate plates; a few of the
latter are all that are known to exist. Between 1752 and 1769
several collections of designs were produced by Copeland in
conjunction with Matthias Lock; in one of them Copeland is
described as of Cheapside. Some of the original drawings are in
the National Art library at the Victoria and Albert Museum.
Copeland was probably the originator of a peculiar type of chairback,
popular for a few years in the middle of the 18th century,
consisting of a series of interlaced circles. Much of his work has
been attributed to Thomas Chippendale, and it is certain that
one derived many ideas from the other, but which was the
originator and which the copyist is by no means clear. The
dates of Copeland’s birth and death are unknown, but he was
still living in 1768.
COPENHAGEN (Danish Kjöbenhavn), the capital of the kingdom of Denmark, on the east coast of the island of Zealand (Sjaelland) at the southern end of the Sound. Pop. (1901) 400,575. The latitude is approximately that of Moscow, Berwick-on-Tweed and Hopedale in Labrador. The nucleus of the city is built on low-lying ground on the east coast of the island of Zealand, between the sea and a series of small freshwater lakes, known respectively as St Jörgens Sö, Peblings Sö and Sortedams Sö, a southern portion occupying the northern part of the island of Amager. An excellent harbour is furnished by the natural channel between the two islands; and communication from one division to the other is afforded by two bridges—the Langebro and the Knippelsbro, which replaced the wooden drawbridge built by Christian IV. in 1620. The older city, including both the Zealand and Amager portions, was formerly surrounded by a complete line of ramparts and moats; but pleasant boulevards and gardens now occupy the westward or landward site of fortifications. Outside the lines of the original city (about 5 m. in circuit), there are extensive suburbs, especially on the Zealand side (Österbro, Nörrebro and Vesterbro or Österfölled, &c., and Frederiksberg), and Amagerbro to the south of Christianshavn.
The area occupied by the inner city is known as Gammelsholm (old island). The main artery is the Gothersgade, running from Kongens Nytorv to the western boulevards, and separating a district of regular thoroughfares and rectangular blocks to the north from one of irregular, narrow and picturesque streets to the south. The Kongens Nytorv, the focus of the life of the city and the centre of road communications, is an irregular open space at the head of a narrow arm of the harbour (Nyhavn) inland from the steamer quays, with an equestrian statue of Christian V. (d. 1699) in the centre. The statue is familiarly known as Hesten (the horse) and is surrounded by noteworthy buildings. The Palace of Charlottenborg, on the east side, which takes its name from Charlotte, the wife of Christian V., is a huge sombre building, built in 1672. Frederick V. made a grant of it to the Academy of Arts, which holds its annual exhibition of paintings and sculpture in April and May, in the adjacent Kunstudstilling (1883). On the south is the principal theatre, the Royal, a beautiful modern Renaissance building (1874), on the site of a former theatre of the same name, which dated from 1748. Statues of the poets Ludvig Holberg (d. 1754), and Adam Öhlenschläger (d. 1850), the former by Stein and the latter by H. V. Bissen, stand on either side of the entrance, and the front is crowned by a group by King, representing Apollo and Pegasus, and the Fountain of Hippocrene. Within, among other sculptures, is a relief figure of Ophelia, executed by Sarah Bernhardt. Other buildings in Kongens Nytorv are the foreign office, several great commercial houses, the commercial bank, and the Thotts Palais of c. 1685. The quays of the Nyhavn are lined with old gabled houses.
From the south end of Kongens Nytorv, a street called Holmens Kanal winds past the National Bank to the Holmens Kirke, or church for the royal navy, originally erected as an anchor-smithy by Frederick II., but consecrated by Christian IV., with a chapel containing the tombs of the great admirals Niels Juel and Peder Tordenskjöld, and wood-carving of the 17th century. The street then crosses a bridge on to the Slottsholm, an island divided from the mainland by a narrow arm of the harbour, occupied mainly by the Christiansborg and adjacent buildings. The royal palace of Christiansborg, originally built (1731–1745) by Christian VI., destroyed by fire in 1794, and rebuilt, again fell in flames in 1884. Fortunately most of the art treasures which the palace contained were saved. A decision was arrived at in 1903, in commemoration of the jubilee of the reign of Christian IX., to rebuild the palace for use on occasions of state, and to house the parliament. On the Slottsplads (Palace Square) which faces east, is an equestrian statue of Frederick VII. There are also preserved the bronze statues which stood over the portal of the palace before the fire—figures of Strength, Wisdom, Health and Justice, designed by Thorvaldsen. The palace chapel, adorned with works by Thorvaldsen and Bissen, was preserved from the fire, as was the royal library of about 540,000 volumes and 20,000 manuscripts, for which a new building in Christiansgade was designed about 1900.
The exchange (Börsen), on the quay to the east, is an ornate gabled building erected in 1619–1640, surmounted by a remarkable spire, formed of four dragons, with their heads directed to the four points of the compass, and their bodies entwining each other till their tails come to a point at the top. To the south is the arsenal (Töjhus) with a collection of ancient armour.
The Thorvaldsen museum (1839–1848), a sombre building in a combination of the Egyptian and Etruscan styles, consists of two storeys. In the centre is an open court, containing the artist’s tomb. The exterior walls are decorated with groups of figures of coloured stucco, illustrative of events connected with Thorvaldsen’s life. Over the principal entrance is the chariot of Victory drawn by four horses, executed in bronze from a model by Bissen. The front hall, corridors and apartments are painted in the Pompeian style, with brilliant colours and with great artistic skill. The museum contains about 300
