Hitherto, to a great extent, we have been groping in the dark, guided only by the dim light yielded by obscure passages in early writers or by half-defaced frescoes and shattered sculptures. Much is conjectural, much uncertain; and often the shreds of information obtained from different sources appear contradictory, requiring patient thought and investigation to unravel the entanglement and reconcile the inconsistencies.

The progress of Christian literature and art had been retarded first by persecution, then by war and tumult. This partly accounts for the comparative scantiness of the material extant for a history of the Christian antiquities of the first eight centuries. But with the ninth century a new era began, which lasted unchecked all through {61} the Middle Ages. The military genius of Charles the Great effected a general peace in the year 812; and under his enthusiastic patronage a true renaissance took place in learning and in art. Architecture and manuscript illumination were carried to a high degree of perfection, and for the first time active and systematic researches were made into the details of the doctrine and ritual of the church in the preceding centuries.

As a natural consequence of the inquiring spirit which thus made itself felt, the number of books and tracts on ecclesiastical matters multiplied enormously. Among the many branches of study which were and are open to the inquiry of the ecclesiologist, few occupied the attention of these ninth-century writers more than the vestments worn by the priests when ministering in Divine service.

It has been reserved for the antiquaries of our own day to formulate the true principles of scientific archaeology. We smile at the childish fancies which are gravely put forward in works not more than fifty years old; small wonder is it, then, that we find these early treatises on vestments disappointing. All are firmly impressed with the Levitical origin of the usage and shape of Christian vesture; and the majority are occupied with vague speculations concerning the symbolic meaning {62} of the individual items in an ecclesiastical outfit.

Mr. Marriott assigns a reason for the then universal belief in the Levitical origin of ecclesiastical vestments which is highly ingenious, and probably correct. I cannot do better than cite his words on the subject:

\'Churchmen who had travelled widely, as then some did, in East as well as West, could hardly fail to notice the remarkable fact, that at Constantinople as at Rome, at Canterbury as at Arles, Vienna or Lyons, one general type of ministering dress was maintained, varying only in some minor details; and that this dress everywhere presented a most marked contrast to what was in their time the prevailing dress of the laity. And as all knowledge of classical antiquity had for three centuries or more been well-nigh extinct in the church, it was not less natural that they should have sought a solution of the phenomenon thus presented to them in a theory of Levitical origin, which from that time forward was generally accepted.\'[49]

Rabanus Maurus, as we have already stated (supra, p. 12), was the first who endeavoured to draw the parallel between the Christian and the Jewish vestments. The older writers saw the {63} difficulties in the way of establishing a complete correspondence. Thus Walafrid Strabo (circa 840), in chapter xxiv of his \'De Rebus Ecclesiasticis,\' merely says: \'Numero autem suo antiquis respondent\' (In their number they correspond to the ancient vestments); and he further admits that mass was formerly celebrated by a priest robed in everyday dress.[50] But, as the desire to prove the correspondence grew more widespread, changes and additions were rapidly made in the vestments themselves, with a view to assimilating the two systems. In the interval between the ninth and eleventh centuries the number of recognised vestments was doubled by the accretions thus made to the original set.

As the simplest and most intelligible method of exhibiting the extent of these changes, I have drawn up the subjoined table, in which are given the lists of vestments known to writers on ecclesiastical matters during this interval of time. These lists are placed in parallel columns, and a uniform system of nomenclature has been adopted, so that the reader can see at a glance the date of the various additions:
{64}
Rabanus
Maurus,
circa 820.     Pseudo
-Alcuin,
saec. x.     Ivo of
Chartres,
ob. 1115.     Honorius
of Autun,
circa 1130.     Innocent III,
circa 1200.
Alb     Alb     Alb     Alb     Alb
Girdle     Girdle     Girdle     Girdle     Girdle
Amice     Amice     Amice     Amice     Amice
Stole     Stole     Stole     Stole     Stole
Maniple     Maniple     Maniple     Maniple     Maniple
Dalmatic     Dalmatic     Dalmatic     Dalmatic     Dalmatic
Chasuble     Chasuble     Chasuble     Chasuble     Chasuble
Sandals     Sandals     Sandals     Sandals     Sandals
Pall     Pall     —     Pall     Pall
—     —     Stockings     —     Stockings
—     —     —     Subcingulum     Subcingulum
—     —     —     Rational     —
—     —     —     Mitre     Mitre
—     —     —     Gloves     Gloves
—     —     —     Ring     Ring
—     —     —     Staff     Staff
—     —     —     —     Tunicle
—     —     —     —     Orale

From this table it will be seen that the number of vestments was increased, not so much by the invention of entirely new ornaments, as in the exaltation to the rank of separate \'vestments\' of what had previously been subordinate. The ring and staff, for instance, were known to the councillors at Toledo, but they do not appear in these lists till the twelfth century.

We must now discuss each of these vestments, noting their shape and the peculiarities which they presented at different times. It will be convenient to follow the order of the above table.

{65} I. The Alb.—We have traced the history of this vestment from its use as a purely secular garment till the ninth century, and have seen how its proportions, at first ample, were contracted till the vestment fitted with comparative tightness to the body, on account of the greater convenience which the less flowing form of the vestment offered for active administration in Divine service.

The material of which the alb was made was usually linen, of more or less fine quality; but we often meet with entries in old inventories of church goods which enumerate albs of other material. Silk and cloth of gold are very commonly mentioned, and velvet is not unknown. Thus we have

    \'Albe sunt viginti de serico principales.\'—Inv. Westminster Abbey, 1388.
    \'30 albes of old cloth of Baudkyn.\'—Inv. Peterborough, 1539.
    \'One olde aulbe of whyte velvyt.\'—Inv. St Martin Dover, 1536.

The proper colour of the alb was white; but in England coloured albs were sometimes worn, and we meet with such vestments in inventories passim. The following is a selection:

    \'Red albes for Passion week, 27.
    \'40 Blue albes of divers sorts.
    \'7 Albes called Ferial black.\'—Inv. Peterborough, 1539.
    \'Alba de rubea sindone brudata.\'—Inv. Canterbury.

The ornamentation of the alb, in the earlier {66} years of the third period, sometimes consisted of round gold plates, just above the lower hem of the vestment, one on either side. Occasionally there were rows of small gold plates arranged round the lower edge. Albs of the first kind were called albae sigillatae, from the seal-like appearance of the gold plates. Albs of the second kind were named albae bullatae. Dr Rock quotes the following:

    \'Camisias albas sigillatas holosericas.\'—Record of gift of King Æthelwulf to St Peter\'s, Rome, in Liber Pontific. in Vita Benedicti III, t. iii, p. 168, ed. Vignolio.
    \'Alba bona et bullata.\'—Peterborough, A.D. 1189.

The more usual ornamentation, however, and that which became universal in later years, consisted in ornamental patches of embroidery, technically called apparels, sewn on to various parts of the vestment. There were two such rectangular patches just above the lower hem,[51] one in front, one behind; two similar patches, one on the back, the other on the breast; two small patches, one on each cuff; a narrow strip encircling the aperture for the head, more for use (as a binding to prevent tearing) than for ornament; and, in earlier examples, two narrow strips running down in {67} front and two behind, like the clavi of the Roman tunic.

In the earliest representations of albs, as seen on sculptured monuments, the vestment is left plain; one of the earliest apparelled albs being on an effigy to the memory of Bishop Giffard, at Worcester, 1301. This, however, does not imply more than that the apparels were originally painted on, and that the paint has worn off.

Another difference is observable between the cuff-apparels of early effigies and of those of later date. In the early albs the cuff-apparel invariably encircles the whole wrist; but in later specimens we find that it has shrunk to a small square patch, sewn on the part of the sleeve which is toward the back of the hand.

Dr Rock has shown some reason for believing that the apparels were occasionally hung loose over their proper place; the lower hem apparels being suspended from the girdle, and those on the breast and back being fastened together by two cords, between which the head was passed, and which consequently, when in position, ran across the shoulders. This was obviously suggested by convenience; for the entry in the accounts of St Peter\'s, Sandwich—

\'for washing of an awbe and an amyce parteȳing to the vestments of the garters and flour de lice and for sewing on of the parelles of the same, vᵈ\'

{68} —tells us what we should have expected, that the apparels had to be removed from the vestment when it was washed, and sewn on again afterwards. It was only natural that some such plan as the loose suspension of the apparels should be followed; for the constant ripping off and sewing on of the embroidery must have been not only laborious, but ultimately detrimental to the vestment.

This entry gives us an instance of another fact, that vestments and suits of vestments were named after the pattern which was embroidered upon their apparels. A singular collection occurs in the Peterborough inventory, including

    \'6 albes with Peter keys.
    \'6 albes called the Kydds.
    \'7 albes called Meltons.
    \'6 albes called Doggs.\'

Albs were sometimes worn plain, i.e., without apparel. The Salisbury Missal, for example, forbids the apparelled alb to be worn on Good Friday; and it is not at all impossible that some of the plain albs, as represented on early monuments, are really intended for unadorned vestments.

Some difference of opinion seems to exist among the authorities about the mystical signification of this vestment. Rabanus Maurus holds it to inculcate purity of life. Amalarius of Metz, contrasting Jerome\'s description of the tight-fitting {69} Jewish tunic with the flowing alb of his own day, considers that it denotes the liberty of the New Testament dispensation as contrasted with the servitude of the Old. Pseudo-Alcuin thinks that it means perseverance in good deeds, and that therefore Joseph is described as wearing a tunica talaris among his brethren. \'For a tunic which reaches all the way to the ankles is a good work carried out to the end, for the ankle is the end of the body.\' Ivo of Chartres asserts that it signifies the mortification and chastisement of the members. Honorius of Autun agrees more or less with Rabanus Maurus; but Innocent III regards it as symbolical of newness of life, \'because it is as unlike as possible to the garments of skins which are made from dead animals, and with which Adam was clothed after his fall.\'

The following dimensions are among those given by Mrs Dolby as the correct measurements of an alb for a figure of medium height and ordinary proportions:
    ft.     in.
Length behind when made     4     9
Length before     4     5
Depth of shoulder-band     0     8½
Width of same     0     1¼
Length of sleeve, outside of arm     2     1½
Width of sleeve at wrist folded in two     0     6½
Width of sleeve half-way up     0     9½
Length of neck-band     2     2½
Width of same     0     1¼
Opening down front     1     1½

{70} II. The Girdle, with which the alb is secured, is a narrow band, usually of silk, the ends of which terminate in a tassel.

The colour of the girdle is properly white, though occasionally it varied with the colour of the day. Though (as stated) properly of silk, it is sometimes made of cotton.

Occasionally the girdle was embroidered in colours. In the Westminster inventory of 1388 we have:

    \'Zone serice sunt septem diversi operis et diversorum colorum.\'

The following is a selection of the esoteric meanings ascribed to this vestment: custodia mentis; discretio omnium virtutum; virtus continentiae; perfecta Christi caritas.

The length of the girdle is stated at about four yards. The length of the alb, it should be noticed, was so considerable that it was necessary to draw it through the girdle and let it hang over above it. It is therefore extremely rare (if not unknown) for the girdle to be visible on mediaeval monuments, for even in those exceptional effigies in which the whole length of the alb is visible, the latter vestment entirely conceals the girdle by falling over it.

III. The Amice.—This vestment was quite unknown in the earlier period: it was a mediaeval invention.

{71} The amice was clearly originally intended to serve as a hood; and a survival of this use remains in the ritual of vesting, in which the priest first places the vestment on his head, with the prayer \'Impone Domine capiti meo galeam salutis ad expugnandum diabolicos incursus,\' before adjusting it round his neck.

In several dioceses of France the amice was worn as a hood upon the head from All Saints\' Day till Easter, and something of the same kind may have been the practice elsewhere; thus, we find an effigy of a priest in Towyn, Merionethshire, and another in Beverley Minster, in which the amice is drawn over the head hoodwise.

In shape the amice was a rectangle (the dimensions are given as thirty-six inches by twenty-five inches). At each end strings were sewn, which were of sufficient length to cross over the breast and encircle the body. An apparel of embroidered work ran along one of the long sides; so that when the vestment was in position it was turned down, like a collar, over the other vestments round the neck, and so far open as to leave the throat of the wearer exposed. A small cross was marked in the centre of the upper edge of the vestment.

So much of this vestment was concealed that there appears to have been little or no scope for variety of treatment, either in form or material. The latter seems always to have been linen. The {72} orphreys (embroidered edges), of course, are subject to the same unlimited variation of design as the corresponding ornaments on other vestments; but the shape is constant.

The same uniformity is not, however, observable in the symbolism of this vestment. The variety of meanings is even greater than is the case with the alb and its girdle. We are told that it signifies (inter alia) the Holy Incarnation; the purity of good works; the subjugation of the tongue; the earthy origin and heavenly goal of the human body; the necessity of justice and mercy in addition to temperance and abstention from evil; and the endurance of present hardships.

IV. The Stole.—The early history of the stole has been discussed in the preceding chapter, in considering the orarium.

Why, or when, the proper name of the vestment became \'stole,\' or stola, does not appear. It is named stola in the later ecclesiastical canons of our second period; but it is not clear how stola, which in its original significance denoted a flowing tunic, like the under-garment of the Roman or the alba of the priests of the second period, came to signify a narrow strip of orphrey-work. It is quite certain that it cannot be explained (as some writers have attempted to do) as the orphrey of a lost vestment which has survived while the bulk of it has disappeared; for {73} the continuity of the stole and the orarium is a matter of historic certainty, and we have already shown reason for assigning an entirely different origin to the latter vestment. Such an evolution, too, as that of a narrow strip from a large vestment is not natural, and is contrary to our observation in the history of other vestments; and it assumes the existence of embroidered \'orphreys\' at a time far too remote for such ornamentation to be found. This hypothesis has suggested one of the less probable etymologies which have been proposed for the word orarium.
ill-p073

Fig. 6.—Stole-ends, showing Varieties in Form and Ornament.

The stole is a narrow strip of embroidered work, nine or ten feet long and two or three inches wide. In its original form it was of the same width throughout; but about the thirteenth or fourteenth century we find its ends terminating in a rectangular compartment, giving each the appearance of a tau cross. This was in order to secure extra room for the cross with which every stole {74} was supposed to be marked at the end. For the same purpose the modern stole expands gradually from the middle point, where also a cross is embroidered.

Priests wear the stole between the alb and chasuble, crossed over the breast, and secured in that position by the girdle of the alb—nowadays only when officiating at mass, formerly on all occasions on which the stole was worn. Deacons generally secure it over the left shoulder and under the right arm, thereby approximating the disposition of the vestment to that of the ancient Roman ornament from which the vestment takes its origin. Bishops wear the stole between the alb and tunicle[52] pendent perpendicularly on either side of the breast; the pectoral cross which they wear is supposed to supply the place of the crossed stole.

The embroidery and material of the stole were supposed to tally with that of the alb, with which it was worn. The same rule applies to the maniple, and we commonly find in inventories that the three vestments are catalogued together. But if we can trust the evidence of brasses and other monuments, the vestments of different suits were worn together in a very haphazard manner, {75} and it does not seem possible to extract any definite rule as to the collocation of different vestments embroidered with different patterns of orphreys.

The ends of the stole—below the embroidered cross when such existed—terminated in a fringe; and it was not uncommon in earlier years for little bells to be included in this fringe. Thus we have:

    \'Una stola cum frixio Anglicano cum perlis albis et endicis et campanellis.\'—Inv. Vest. Papae Bonif. VIII, cit. ap. Rock, \'Church of our Fathers.\'

The stole is said to signify \'the easy yoke of Christ.\' Authorities earlier than the twelfth century are agreed on this point, though they differ on some minor details in the subordinate symbolism of its length, disposition, etc. But Honorius of Autun asserts that it signifies \'innocence,\' and makes some vague and, to the present writer, unintelligible allusions to Esau\'s sale of his birthright; while Innocent III, with a faint reminiscence of the earlier exegesis, declares it to signify the servitude which Christ underwent for the salvation of mankind—referring to Phil. ii 5-8.

V. The Maniple.—The history of the development of the maniple follows closely on that of the stole. With a very few exceptions, the maniple, as represented on mediaeval monuments, differs from {76} the stole, with which it is associated, in size alone.[53]
ill-p076

Fig. 7.—Archbishop Stigand. (From the Bayeux tapestry, showing maniple carried over fingers.)

The maniple was originally worn over the fingers of the left hand. This arrangement was most inconvenient, as it was constantly liable to slip off, and the fingers had to be held in a constrained attitude throughout the service. It was early found more comfortable and convenient to place the vestment over the left wrist; but no {77} definite rule seems to have been formulated, and, indeed, in some parts of France the earlier custom seems to have survived till the middle of the eighteenth century. When placed on the wrist it was either buttoned or sewn so as to form a permanent loop, so that it should not slip off the arm.

In a few effigies the maniple is represented on the right wrist. For this there is no liturgical authority, and it can only be attributed to the blundering of the engraver or sculptor.[54]

In reference to its original utilitarian purpose, Amalarius assigns to the maniple the significance of the \'purification of the mind.\' Pseudo-Alcuin holds it to denote this present life (in qua superfluos humores patimur). It is also said to denote penitence, caution, and the prize in the racecourse.

The width of the maniple is the same as that of the stole—the length is given at from three feet to three feet eight inches.

{78} VI. The Dalmatic.—I am unable to find any representation of this vestment older than the ninth century, showing the special features which distinguished it from the other vestments of the mediaeval period. Before that date the dalmatic seems to have been identical with the alba, possibly distinguished from it by being a little shorter when, as at Rome, the two vestments were worn together.
ill-p078

Fig. 8.—Deacon in Episcopal Dalmatic. (From Randworth Church.)

Fig. 9.—Deacon in Diaconal Dalmatic.

In the mediaeval period, however, this vestment (and its modification, the tunicle) is marked out {79} from all others by being slit up a short distance on either side. These side-slits were decorated with fringes; but here an important theoretical distinction must be observed between the dalmatic of a bishop and that of a deacon. This was often neglected in mediaeval times, and is consequently frequently overlooked by ecclesiologists of the present day. In the dalmatic, as worn by a bishop, the side-slits, the lower hems, and the ends of the sleeves were fringed; in the dalmatic of a deacon there were also fringes, but only on the left sleeve and along the left slit.

The true reason for this distinction is probably to be sought in the same direction as that which prompted the peculiar diaconal method of wearing the orarium—convenience. The deacon, who was practically the servitor at the altar, required to have his right side free and unhampered as much as possible; the heavy fringes, which might have impeded him, were therefore dispensed with upon that side. But such an explanation would by no means satisfy the early mediaeval writers on vestments, and we are accordingly informed that as the left side typifies this present life and the right that which is to come, so the fringes on the left indicate those cares through which we must pass in this world, while their absence on the right symbolizes our freedom from care in the world to come. Why the bishop was not regarded as {80} exempt from care in the future world does not appear.

Another singular piece of blundering meets us at St David\'s Cathedral. Here we have two effigies representing clerics, who, though they wear the dalmatic, yet show the stole disposed symmetrically, in the manner of priests.[55] Either the presence of the dalmatic or the presbyteral stole must be incorrect; but in our ignorance of the identity of the persons whom these effigies commemorate we cannot decide which. Bloxam\'s idea, that these figures represent archdeacons, though ingenious, is untenable; for there is no authority for assigning the dalmatic to an archdeacon of priestly grade; and we have other figures of priests known to have been archdeacons in various parts of England, none of which show the dalmatic.

The ornamentation of the dalmatic before the twelfth century consisted either of vertical bands (like the clavi) or else of horizontal bands, of orphrey-work. After that date the plain white vestment was superseded by one covered all over with elaborate embroidery. This is especially the case with the episcopal dalmatic, which is only what we should have expected.

We have already stated one symbolical meaning {81} attaching to the dalmatic and its appurtenances. A few more may be of interest: the Passion of Christ; the \'pure religion and undefiled,\' as described by St James; the Old and New Testaments; the crucifixion of the world in the wearer; the wide mercy of Christ, etc.

All of the early writers are misled by the decree of Pope Sylvester into imagining that Sylvester first instituted this garment as a purely ecclesiastical vestment; some even go the length of assigning a mystical meaning to the colobium, which it superseded. Even Walafrid Strabo, who in many respects is the least mystical of the early mediaeval writers on ecclesiastical vestments, is deceived, though he wisely contents himself with stating the fact that Sylvester had so commanded, without attempting to assign any reason for his so doing.

VII. The Chasuble.—The variety of materials of which the chasuble was made may be gathered from the following extracts from the Lincoln Inventory of 1536:
{82}

    \'Imprimis a Chesable of rede cloth of gold wᵗ orfreys before and behind sett wᵗ perles blew white and rede wᵗ plaits of gold enamelled.\'
    \'Item a Chesuble of Rede velvett wᵗ kateryn wheils of gold.\'
    \'Item a chesuble of Rede sylk browdered wᵗ falcons & leopardes of gold.\'
    \'Item a chesable of whyte damaske browdered wᵗ flowres of gold.\'
    \'Item a chesable of whyte tartaron̄ browdered wᵗ treyfoyles of gold.\'
    \'Item a chesable of purpur satten lynyd wᵗ blew bukerham havyng dyverse scripturs.\'
    \'Item a chesable of cloth of tyshew wᵗ orfreys of nedyll wark.\'
    \'Item a chesable of sundon browdered wᵗ mones & sterres lyned wᵗ blew bukerham.\'

Of the materials here mentioned the commonest were velvet, silk, or cloth of gold.

In the latest days of the transitional and the earliest days of the mediaeval period, there were two kinds of chasubles in use, the eucharistic and the processional. The distinction between them was utilitarian rather than ritualistic; it consisted in a hood sewn to the back of the latter, and designed as a covering for the head during outdoor processions in inclement weather. But the processional chasuble early gave place to the cope; and a hooded chasuble does not appear to be extant in representations of date later than the tenth century.

The manner in which the early chasubles were made seems to have been as follows: A semicircular piece of the cloth of which the vestment was to consist was taken, and a notch cut at the centre, so that the shape of the cloth resembled that of the figure in the annexed diagram; the {83} two straight edges corresponding to the lines AB and CD were then brought together and sewn; the result was a vestment somewhat of extinguisher shape, with a hole in the middle for the neck, and enveloping the body all round to an equal depth each way. The result was that when the priest had to raise his hands the vestment was gathered inconveniently on either shoulder, and probably injured by being crushed, certainly hampering the wearer by its weight. This difficulty was surmounted by a very simple expedient. The cloth, instead of being shaped as before, was cut into an oval form, and an opening was made at the centre for the wearer\'s head, the consequence being that when in position the vestment hung down over the front and back to some distance, and covered the upper part of the arms, though not sufficiently so to interfere with their free action. The latter shape is that which meets us all through the mediaeval period throughout the Western Church.
ill-p083

{84} The modern Roman Church has made yet another innovation which, although it has its disadvantages, certainly reduces the inconvenience of the vestment to a minimum. Two fairly large semicircular pieces are cut from each side of the front of the vestment, thereby permitting the hands to be brought together when necessary without crushing the vestment between the forearms, which was inevitable in the old form. But the wasp-waisted appearance of this chasuble is ugly, and attempts are being made to abolish it and to return to the mediaeval pattern.
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Fig. 10.—Sir Peter Legh, Knight and Priest. (From his brass at Winwick. Vested in chasuble only.)

Yet another small distinction is to be found in the shape of individual examples of the mediaeval period. We find many of these vestments to be made circular or elliptical, so that the lower border is rounded off; while many others are found to be made in the shape known as the vesica piscis, so that the lower extremities terminate in a point more or less sharp. Writers who cannot be content with {85} simple or commonplace explanations of such phenomena as this have laboured in vain to invent some esoteric signification which will account for it. Perhaps the most common-sense guess is that made by Dr Rock, who thinks that the rounded chasuble was used during the period of rounded architecture—the Saxon and Norman—and the pointed chasuble during the pointed periods of architecture: a suggestion which we should have no difficulty in accepting at once, were it not for the fact that scores of brasses and other monuments of the Curvilinear and Rectilinear periods in architecture exist showing rounded chasubles; while (among others) the effigy of Bishop John de Tour, at Bathampton near Bath, A.D. 1123, shows a pointed vestment. We have no space to enter into particulars of the other suggestions—the symbolism of the vesica piscis, the perfection of the circle, etc.

The simple explanation seems to be that the difference depended merely on the taste and fancy of the seamstress or of the engraver of the monument. It would be perfectly possible to draw up a list of monuments in which the point of the chasuble shows every stage from extreme sharpness to extreme bluntness, and so, by one step further, into a continuous curve. This demonstrates that no rule was necessarily followed in choosing the shape of the chasuble, beyond that of making a {86} fairly symmetrical vestment which should hang down in front and behind, and should have a hole in the middle through which the priest\'s head should be passed. Nor can we even say that fashion affected the shape of the vestment; for were such a list as I have mentioned to be printed here, it would be seen to consist of the most haphazard and random series of dates and names of places thrown together without the slightest regard to chronological sequence or geographical position.

The dimensions of a pointed chasuble (circa fourteenth century) at Aix-la-Chapelle, which has been accepted as a standard for modern imitation, are given as follows:
    ft.     in.
Depth of shoulder, measuring from neck     2     9
Length of side, from shoulder to point     4     11
Depth from neck to point in front     4     6
Depth from neck to point behind     4     10

The chasuble of St Thomas of Canterbury, at Sens Cathedral, which is of the old extinguisher shape, is three feet ten inches in depth. In the oldest chasubles the length of the vestment behind was greater—often much greater—than in front. There is a more even balance between back and front in later mediaeval times.

Passing now from the manner of making the chasuble to the manner of ornamenting it, we find just the same divergence, with apparently just as {87} little rule. It is probable that, as the decoration was the most costly part of the manufacture of a chasuble, the amount of it was regulated by the resources available to pay for it.

We propose to consider at the end of the next chapter the classes of patterns with which vestments generally were decorated in the middle ages; at present, therefore, we shall confine ourselves to noticing briefly the positions in which these decorations were placed on the chasuble.

The groundwork of the vestment was either plain (invariably so in the older examples) or else embroidered or woven with a pattern, according to taste and means; the ornamentation proper consisted of strips of embroidered or \'orphrey\' work, as it is technically called, sewn on to the vestment. These strips were sewn either on the edge or crosswise on the front and back of the chasuble.

The edge orphrey is the more frequently met with in the brasses of parish priests, and it is rarely so elaborately decorated as are the central orphreys. It usually consisted of some simple pattern of flowers or geometrical figures recurring at regular intervals round the edge.

Greater variety is seen in the shape of the central orphrey, which, being the more elaborate and expensive, is almost invariably found represented in the monuments of bishops, abbots, and other dignitaries, and in the effigies of priests of {88} the richer churches. It sometimes, though rarely, consisted of a simple \'pillar\' on the front and on the back of the vestment; usually this ornamentation was extended by the addition of branches of orphrey work given off on either side, which passed over the shoulder and joined the corresponding branches of the other pillar, the result being that the orphrey on front and back had the appearance of the Greek Ψ, or of a Latin cross with oblique arms. When the bands were so disposed, the pillar on the front was called the pectoral, the pillar on the back the dorsal, and the auxiliary bands, which passed over the shoulders, the humeral orphreys. Very frequently this design was varied by omitting the part of the pectoral and dorsal bands above their intersection with the humeral; this resulted in the \'Y cross,\' which we find in so many effigies in our cathedrals and churches. In a few examples the Y or Ψ is inverted, and in some it gives off auxiliary branches, so as to resemble (e.g.) the figure star. It would, however, be waste of time and space to enter further into a discussion of what was not regulated by any definite rule, but depended on caprice, or, at most, on pecuniary considerations. More often than not the central orphrey, of whatever form, is combined with the edge orphrey, and is usually of a different pattern from it.

In many early chasubles the front and back are {89} charged with an embroidered Latin cross. This is also the case with the back of the modern Roman or slit vestment.

When the Y orphrey was placed on the chasuble, the space between it and the neck on the back was usually filled with an elaborate floral design embroidered in gold or crimson. Sometimes (not always) this extended round the neck, and was repeated in front. To this ornament the special name of \'flower\' has been attached.

The chasuble surmounts and safeguards all the other vestments; hence the chasuble signifies love, which surmounts all the other virtues, and safeguards and illumines their beauty with its protection; so says Rabanus Maurus, prettily enough. Amalarius disagrees; he holds that as the chasuble is common to all clerics, so it ought to set forth the works which are common to all: fasting, thirsting, watching, poverty, reading, singing, praying, and the rest. The pseudo-Alcuin and Ivo of Chartres agree with Rabanus, though for different reasons. Innocent III, however, holds it to signify the virtue of apostolical succession: \'For this is the vestment of Aaron, to the skirt of which the oil ran down; but it ran down from his head to his beard and from his beard to the skirt. Forasmuch as we all receive of His spirit, first the Apostles, afterwards the rest.\' Further, he goes on to say that because the {90} stretching out of the hands divides the chasuble into two complete and similar parts, so that vestment typifies the old and new church before and after the time of Christ.

VIII. The Sandals.—The sandals of the Roman citizens are well known—mere soles, secured across the instep by one or more thongs of leather, and clearly designed to protect the wearer from stony roads without unnecessarily cramping or confining his feet—an important consideration in a hot climate.

Such a sandal must have been worn by the early clergy as Roman citizens, and probably long continued in use among the lower orders of clerics. It was, and still is, the only foot-covering of certain monastic orders, and in some cases was retained even by monks who had attained to episcopal rank. In St Canice\'s Cathedral, Kilkenny, which contains a unique collection of mediaeval effigies and incised slabs, superior in merit to many better-known specimens of mediaeval art, there exists a most interesting effigy of a former bishop, de Ledrede, who died circa 1350. He is represented fully vested in Eucharistic dress; but in place of the episcopal sandals, which an ordinary bishop would have worn, he wears the simpler monastic sandal, which covers only the sole and instep; and shows the cord of St Francis hanging below his alb.

{91} The extension of the Church into more northern and colder regions, and the importation of foreign customs into the southern metropolis itself, probably suggested the transformation of the somewhat scanty sandal into a more appropriate and more comfortable shoe. The traditions of the old custom were, however, long maintained in a curious way: the upper leathers of the shoe were fenestrated or cut into open-work patterns, the result being that the bare surface of the foot showed through and displayed the decoration in light flesh-tint against the dark leather of the shoe. When the episcopal stocking was added to the equipment of the bishop, the colour became bright scarlet, though the effect remained much the same.

The fenestrated sandals were abandoned about the fourteenth century in favour of shoes, in shape very much resembling the modern ankle-shoe. It would have been inconsistent, however, with the spirit of the fourteenth century to have abandoned the decorative effect produced by the open-work, and neglected to find some substitute. This substitute was found in lavish embroidery and in ornamentation with jewels and spangles of gold. The sandals, in fact, became as elaborate as did the rest of the ecclesiastical vestments.

The sandals, as above described, were worn by bishops only, at the Eucharistic service. Deacons and priests appear to have worn simple everyday {92} shoes, without ornamentation of any kind. The fenestrated shoes (which were popular among the dandies of the day as well as consecrated to the bishops) were expressly forbidden to them, as also were coloured shoes, or shoes of the preposterous shapes occasionally in vogue among the laity of the middle ages.
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Fig. 11.—Bishop Waynflete\'s Episcopal Sandal.

\'As the sandals partly cover the feet and leave them partly bare,\' says Rabanus, \'so the teachers of the Gospel should reveal part of the Gospel and should hide the rest, that the faithful and pious may have enough knowledge thereof, and the infidel and despiser may find no matter for blasphemy. And this kind of shoe warns us likewise that we should have a care to our flesh and our bodies in matters of necessity, not in matters of lust.\'

Amalarius of Metz enters into further details, incidentally touching on some points of difference which obtained between the sandal of the bishop {93} and that of the priest in his day—the first half of the ninth century. The following is a translation of his words:

\'The difference in the sandal sets forth a difference in the minister. The offices of the priest and of the bishop are almost identical; but because there is a distinction in their titles and honours there is a distinction in their sandals, that we may not fall into error upon beholding them, which we might well do, owing to the similarity of their offices. The bishop has a band (ligatura) in his sandals, which the presbyter has not. It is the duty of the bishop to travel throughout the length and breadth of his diocese (parochia) to govern the inhabitants; and lest they should fall from his feet, his sandals are bound. The moral of this is, that he who mingles with the vulgar crowd must secure fast the courses of his mind (gressus mentis). The priest, who remains in one spot and offers the sacrifice there, walks more securely. The deacon, because his office is different from that of the bishop, needs not different sandals; he therefore wears them bound, because it is his to go on attendance. The subdeacon, because he assists the deacon, and has almost the same office, must have different sandals, that he be not thought a deacon. The inner meaning is this: Because the sandals set forth the way of the preacher, the sole, which is underneath, warns the preacher not to {94} mingle with earthly matters. The tongue of white leather, which is under the "tread"[56] of the foot, shows that there ought to be the same separation, guiltless and guileless; that it may be said of him, "Behold an Israelite indeed, in whom there is no guile;" let him not be such as were the false apostles, who preached in malice and disputation. The tongue, which rises thence, and is separated from the leather of the sandals, sets forth the tongue of those who ought to bear good testimony to the preacher, of whom Paul said, "He must have a good report of them that are without." These are in the lower rank, and to some extent are separated from spiritual intercourse. The upper tongue is the tongue of the spirits (spiritalium), who lead the preacher into the work of preaching. These search into the past life of the preacher. But the sandals are bound round within with white leather; so must the desire of the preacher be pure before God, out of a clean conscience; and without appears the black, since the life of the preacher seems despised by them that are worldly on account of the myriad afflictions of this present life. The upper part of the sandal, through which the foot enters, is sewn together with many threads, that the two leather bands be not separated; for at first the preacher should apply himself to the many virtues and {95} sayings of the Scriptures, that his outward acts may not be at variance with those which are secret and known to God only. The tongue of the sandals, which is over the foot, sets forth the tongue of the preacher. The line made by the craft of the shoemaker, stretching from the tongue of the sandal to its end, sets forth the perfection of the Gospel; the lines proceeding from either side, the law and the prophets, which are repeated in the Gospels; they are repeated at the middle line, which stretches to the end. The bands denote the mystery of Christ\'s Incarnation....\'

We have given this strange mixture of mysticism and observation at length for several reasons. First, it emphasizes a curious distinction between the shoes of different orders of clergy which is not often brought into notice. Secondly, it gives a very full, though somewhat obscure, description of the sandal in the author\'s time. And thirdly, it exemplifies the absurd lengths to which an author can go who endeavours to extract hidden meanings from simple and easily explicable facts. Here Amalarius endeavours to extract solemn truths even from the seams which the maker found necessary in joining two pieces of leather together. If some modern writers on archaeological subjects took timely warning from such a melancholy example, we should have fewer wild theories and more facts.

It is sad that most of Amalarius\' successors {96} quietly put aside his elaborately argued piece of symbolism. Pseudo-Alcuin is content with the old idea of Rabanus, that the Gospel should be kept from what is earthy as the feet are kept from the ground, but not otherwise covered. Ivo practically quotes Rabanus word for word; and even Innocent III, who is usually original, has little further to offer beside the quotation: \'How beautiful are the feet of them that preach the gospel of peace!\'

IX. The Pall.—The pall is a symbol of jurisdiction, which is worn by the Pope, and by him bestowed upon all archbishops.

The material of which the pall is made is white wool. Both the shape of the vestment and its ornamentation have undergone modifications since it was invented, even during the mediaeval period itself. Its earliest appearance, and all that is known of its origin, is described in the preceding chapter. The folding of the pallium must have given a little trouble whenever it was put on; and this must before long have suggested the shape which meets us in the mediaeval pall: that of a loop of cloth with two tails projecting from opposite points in its circumference. A slight difference is observable between palls represented early and those represented late in the mediaeval period. In the former the branches are almost horizontal, passing round the arms between the shoulder and {97} elbow; in the latter they pass over the shoulder. In the former case the pall resembles a T, in the latter a Y, whether seen from before or behind the wearer.
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Fig. 12.—St Dunstan. (From a manuscript in the Cottonian Library; showing early forms of pall and mitre.)

In whichever form it appears, h............