Church vestments
The origin of Christian clothing is found in the humbler civil clothes of Classical antiquity. The clothing was adapted to suit the tastes of each era to produce liturgical garments, usually forming complete sets. This work is a cope, derived from the Roman paenula, was also called an asperges cloak due to its connection with ceremonies involving the act of sprinkling the Holy water.
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The symbolism of the colors used in church paraments is important. There are five main colors in Roman liturgy: white, red, green, black and purple. Gold may also be used to substitute the first three colors assuming it is authentic and not a yellow silk imitation. In exceptional cases, pink and blue may also be used.
Catarina d'Eça's cope (16th century)Machado de Castro National Museum
This unique piece belonged to Catarina d’Eça, the Abbess of the Monastery of Lorvão for fifty years (late 15th and early 16th century). Her name appears in the documents until 1528.
It was a privilege of Cistercian Abesses to wear a solemn cope in certain celebrations.
Catarina d'Eça's cope (16th century)Machado de Castro National Museum
The fabric of the cope was substituted in the 18th century; however, all the original embroidery remains. Under the architectural niches bearing the owner’s coat of arms are the figures of six saints with the palm leaf of martyrdom. Two of the figures hold an open book (probably the Bible), whilst two others hold an inverted arrow.
Catarina d'Eça's cope (16th century)Machado de Castro National Museum
Above each saint there is Catarina de Eça 's coat of arms with a peninsular type of escutcheon: silver, with five blue shields and four castles. The escutcheon has a cord with knots, also called Saint Francis' cord.
The upper decorative motifs are edged with metallic thread; the technique applied is raised embroidery.
Catarina d'Eça's cope (16th century)Machado de Castro National Museum
Unfortunately, there is no information about who is represented on the cope, although we can be sure these are images of martyrs, as testified by the palm leaf of martyrdom they hold.
Catarina d'Eça's cope (16th century)Machado de Castro National Museum
The palm leaf of martyrdom has partially disappeared in the right hand of this saint martyr.
Catarina d'Eça's cope (16th century)Machado de Castro National Museum
The coat of arms, on the arch, features a fortress, the meaning of which is not recognized.
Catarina d'Eça's cope (16th century)Machado de Castro National Museum
Here we can see a different representation of a saint martyr. In her left hand, she holds an arrow, probably the instrument of her martyrdom.
The faces have silk foundation and there are traces of preparatory drawing.
Catarina d'Eça's cope (16th century)Machado de Castro National Museum
This saint is not only smaller than the other 5, but also wears a different type of garment.
We can see here a wall with a diamond pattern, with gold and silver stitches and metallic threads. On the floor pavement, red rectangles, embroidered with fine gold and silk stitches.
Catarina d'Eça's cope (16th century)Machado de Castro National Museum
Last but not least, this saint martyr holds a cross in her right hand.
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Now, admire the characters woven with golden and silk threads!
Photo: DGPC/ADF - Photographic Documentation Archive
