IV. The Cotta.—This is a surplice, considerably modified, which has the advantage of being cheap, and is accordingly worn as a substitute for the longer surplice in poor parishes. It is a sleeveless vestment, of crochet work or crimped linen, which reaches to the middle of the back. It has not an effective appearance.

V. The Almuce,[76] which is also variously styled the Amys, or Amess,[77] was a hood lined with fur, and, like the cassock, designed to protect the priest from cold. In winter-time the churches—never very warm—would have been uninhabitable before the invention of heating stoves, had it not been for comforting articles of apparel such as these.

It was shaped so that it could lie over the shoulders as a tippet, or be drawn over the head as a hood, and it must have been very necessary during the protracted services of the middle ages. The vestment was almost always of black cloth, as was the cassock; and the fur with which it was lined varied in quality and colour with the degree of the wearer. Doctors of divinity and canons wore an almuce lined with gray fur, the former being further distinguished from the latter by the scarlet colour of the outside cloth; all others wore ordinary dark brown fur. A singular embellishment of this vestment consisted in the addition of the tails of the animals from which the fur lining was taken sewn round the border of the vestment.

At about the year 1300 the almuce, as a hood, was superseded by a cap, which will be described in its proper place. It was therefore thrown back, and suffered to fall behind, somewhat after the fashion of the hood worn in our modern universities. In order to prevent it from slipping off when in this position, it was sewn in front, so that an aperture was made through which the head of the wearer had to be passed. During the fourteenth century it gradually almost entirely lost its hood shape, and became more and more like a tippet, the only relic of its original form being the two long tails which hung in front somewhat like the ends of a stole, and which were doubtless the remains of the strings with which the original hood was fastened. The row of 'cattes tayles' (as the Elizabethan reformers called them) was also retained.

When the almuce was in position on the head, the fur was inside, the cloth outside. Obviously, when the vestment was thrown back over the shoulder, the fur would be outside, the cloth inside. This is a perfectly natural and intelligible transformation. Mrs Dolby, in noticing it, speaks of it in a most misleading manner. After describing the various changes which it underwent from hood to tippet, she says, 'By this time, too, what was originally the outside of the garment had become the lining, and the fur the only material rendered visible,' as though some ecclesiastical ordinance or the freak of some clerical tailor had brought about this transformation. And Dr Rock says: 'Not the least remarkable thing in these changes of the "furred amys" [as he calls it] is, that it became, as it were, turned inside out.' The remarkable thing would have been if anything else had happened.

At Wells Cathedral is the monument of Dean Huse (ob. 1305, but the tomb is a century and half later), on which are sculptured, besides the principal effigy, a series of small figures of canons holding books. The almuces of these figures show a unique peculiarity: the tails are fastened together on the breast by a cord which passes through them and hangs down with tasselled ends.

Mr St John Hope, in a paper in 'Archaeologia,' vol. liv, p. 81, has traced the history of the appearance of the almuce during the thirteenth and fourteenth centuries by reference to sculptured effigies and brasses in England. From this paper I extract the following illustrative examples:

1. An effigy in Hereford Cathedral, circa 1311, shows the almuce 'like a short cape down to the elbows, with long and broad pendants in front, and turned back round the neck like a loose, high-standing collar. The chief point to notice, however, is that the vestment is quite open in front and not joined on the breast, showing that it was put on like a woman's shawl.'

2. Another effigy in the same cathedral, circa 1320, shows a similar arrangement with the addition of a large morse to fasten the almuce.