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Originally a warm cloak worn over a monk’s habit, the cope
became the standard vestment worn by monks and priests
during processions. Semicircular in shape, a cope sits on one’s
shoulders and encases one within its luxurious cloth. LUMA
has acquired an example in remarkable condition. Two tiers
of foliage based loosely upon the lotus and the acanthus leaf
create a dense pattern. Because of the way the cloth drapes over
the body, the vertical pattern down the cope’s back becomes
a horizontal one in the front. To correct this, a vertical band
of the pattern was attached as a decorative band along the
straight edge of the semicircular cope. In medieval copes, such
bands, called orphreys, were usually embroidered with images
of saints. In the Baroque era, orphreys came to be cut from
the same cloth as the cope. This, in part, helps to determine a
date for the D’Arcy’s new cope. Originally, its pattern would
have been more legible from a distance. A white supplemental
weave, now largely lost, formed a white ground that offset the
golden foliate forms outlined in red. The Metropolitan Museum
of Art has a cope with similar coloring that also has remnants of
a white supplemental weave. Embroidered onto that cope are the
arms of the Barberini family. That vestment dates from the
pontificate of Matteo Barberini as Pope Urban VIII (1623–1644).
My autumn acquisitions came to an end with the purchase of
a matching set of maniple and stole, embroidered in the 18th
century. It is rare that a pair comes on the market. Worn by
priests, the stole is a long strip hung around the neck while the
maniple is much shorter and worn off the left forearm. They
have formed part of priests’ liturgical accoutrements since at
least the 9th century. The stole signifies priestly orders and
is kissed before it is put on as a mark of obedience to divine
law. Following St. Charles Borromeo’s injunction at the end
of the 16th century, three stylized crosses are incorporated
into the embroidered floral pattern: a small at the center, the
one the priest traditionally kissed, and larger crosses at either
end. The embroidered stitches of colored silk are particularly
finely executed on a net that is laid over a background fabric
comprising bright, reflective strips of gold.
Some years ago, I identified the acquisition of liturgical textiles
as one of my collecting priorities. Little did I think I that
should achieve my aim in one fell swoop. For that I must thank
friend of the D’Arcy Marilyn Garrow, who first alerted me
to that these pieces were on the market. It was from Marilyn
that we acquired the embroidered corporal box to mark the
collection’s 40th anniversary in 2009. And I should not have
known a stole from a maniple without the guidance and advice
of Christa Thurman Sala. A generous donor to the collection,
she has recently joined the museum’s acquisition committee.
Finally, I must thank the seller, Kikue Shimizu who gave us the
entire summer to study the pieces in depth. As textiles have to
be handled and exhibited with care, it will be some time before
these new acquisitions are on view but you will certainly see
them for LUMA’s 10th anniversary—fast approaching—in 2015.
