Renaissance era copes have to be amongst some of the most beautiful historical copes one can run into -- at least the one's that have passed down to us (and suffice it to say, typically it is only the very best examples that have managed to survive down to our own day and age). My comment is not intended to be a sweeping generalization about every cope from that period, for like any period, it would have its better and worse examples. No, what I am thinking of here is the beauty of their materials and design.
Today we are going to look at a cope that is thought to have been made in Germany between the years 1500-1529 (though, personally, I do find myself wondering if it might not be of a slightly earlier vintage, perhaps the later 1400's) made of a black silk velvet. The use of black for this cope naturally lends itself toward thinking of Masses for the Dead but, as a reminder, during this period of time black would have also been used for other liturgical times such as for penitential seasons like Advent and Lent. Black was even used in relation to Marian feasts. If that seems odd, consider that one of the biblical and liturgical texts associated with the Blessed Virgin and her feasts makes reference to this colour. I am speaking here of a text which has its origins in the Song of Songs, Nigra sum sed formosa filiae Ieruselem ("I am black, but beautiful, O daughters of Jerusalem").
This association of the Blessed Virgin with the colour black perhaps explains why this black cope is not only ornamented by beautifully embroidered flowers but also finds itself having a primary image (which is always whatever is found on the shield) that depicts the Blessed Virgin holding the Christ Child:
These Marian inclusions suggest to me that this cope was likely especially intended for liturgical use on Marian feasts (such as that of the Purification for example) as well as during the season of Advent -- a season with strong Marian associations of course.
As far as the orphreys of the cope are concerned, they include various apostles and saints who -- as is typical of the designs of the medieval and Renaissance period -- are framed by architectural niches.
Whether there was any particular rationale or symbolism behind the inclusion of these particular saints is difficult to say. It is possible these were merely choices based upon popular devotion at the time, or saints that had a particular importance locally.
Photos: Victoria and Albert Museum
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