By a law of her liturgy the Church directs that the vestments worn by her sacred ministers, and the drapery used in the decoration of the altar should correspond in colour to that which is prescribed for the Office of the day. The colours thus sanctioned by the Church in connection with her public worship are called the liturgical colours. Here it will be enough to examine (1) their number; (2) the drapery and vestments affected by them; (3) their obligation; (4) their antiquity, and (5) their symbolism.

I. NUMBER

In the Roman Rite, since Pius V, colours are five in number, viz.: white, red, green, violet, and black. Rose colour is employed only on Lætare and Gaudete Sundays. Blue is prescribed in some dioceses of Spain for the Mass of the Immaculate Conception.

White is the colour proper to Trinity Sunday, the feasts of Our Lord, except those of His Passion, the feasts of the Blessed Virgin, angels, confessors, virgins and women, who are not martyrs, the Nativity of St. John the Baptist, the chief feast of St. John the Evangelist, the feast of the Chains and of the Chair of St. Peter, the Conversion of St. Paul, All Saints, to consecration of churches and altars, the anniversaries of the election and coronation of the pope and of the election and consecration of bishops; also for the octaves of these feasts and the Offices de tempore from Holy Saturday to the vigil of Pentecost; it is used for votive Masses when the feasts have white, and for the nuptial Mass; also in services in connection with the Blessed Sacrament, at the burial of children, in the administration of baptism, Holy Viaticum, and matrimony.

Red is used the week of Pentecost, on the feasts of Christ's Passion and His Precious Blood, the Finding and Elevation of the Cross, the feasts of Apostles and martyrs; and in votive Masses of these feasts. It is used on Holy Innocents if the feast occur on Sunday and always on its octave.

Green is employed in Offices de tempore from the octave of the Epiphany to Septuagesima, and from the octave of Pentecost to Advent, except on ember-days and vigils during that time, and on Sundays occurring within an octave.

Violet is used during Advent and from Septuagesima to Easter, on vigils that are fast days, and on ember-days, except the vigil of Pentecost and the ember-days during the octave of Pentecost. Violet is also used for Mass on rogation-days, for votive Masses of the Passion and of penitential character, at the blessing of candles and of holy water. The stole used in the administration of penance and of extreme unction and in the first part of the baptismal ceremonies must be violet.

Black is used in offices for the dead, and on Good Friday.

II. AFFECTED VESTMENTS

The drapery and vestments affected by the law of liturgical colours are (a) the antependium of the altar, and as a matter of appropriateness, the tabernacle veil; (b) the burse and chalice veil; (c) maniple, stole, chasuble, cope, and humeral veil; (d) maniple, stole, tunic, and dalmatic of the sacred ministers, and also the broad stole and folded chasuble when employed. All these must correspond with the rules prescribing the use of each colour. The rubrical prescriptions regard the main or constitutive portion of each vestment, so that the borders or other ornamental accessories do not determine the quality of colour. Neither does the lining, but the Roman practice is to have it in harmony with the vestment itself, yellow however being generally adopted instead of pure white.

III. OBLIGATION

The obligation of using any particular colour begins with the First Vespers of the Office of which it is characteristic, or with the Matins if the Office has no First Vespers, and ceases as soon as the following Office begins. Vestments made of pure cloth of gold may be employed for red, white, and green colours (Decret. Authent., nn. 3145, 3646, ed. 1900); cloth of silver may be used instead of white. Multicoloured vestments cannot be used except for the predominant colour.

IV. ANTIQUITY

Benedict XIV (De Sacro Sacrificio Missæ I, VIII, n. 16) says that up to the fourth century white was the only liturgical colour in use. Other colours were introduced soon afterwards. Innocent III (d. 1216) is among the first to emphasize a distinction. He mentions four principal colours, white, red, green, black (De Sac. Alt. Mys., I, lxv) as of general use, and one, viz. violet, as occasionally employed. This latter was regularly used from the thirteenth century. An "Ordo Romanus" of the fourteenth century enumerates five. Between the twelfth and sixteenth centuries blue and yellow were common but they may not be used without very special authorization (Cong. of Rites, Sept., 1837).

V. SYMBOLISM

Outside of Rome uniformity of observance was effected in the second quarter of the nineteenth century by the abrogation of other uses. In the Western Church only the Ambrosian Rite (q.v.) retains its peculiar colours. Most of the Oriental rites have no prescribed liturgical colours. The Greek Rite (q.v.) alone has a fixed usage but even among them it is not of strict obligation. The Ruthenians follow the Roman regulation since 1891. The variety of liturgical colours in the Church arose from the mystical meaning attached to them. Thus white, the symbol of light, typifies innocence and purity, joy and glory; red, the language of fire and blood, indicates burning charity and the martyrs' generous sacrifice; green, the hue of plants and trees, bespeaks the hope of life eternal; violet, the gloomy cast of the mortified, denotes affliction and melancholy; while black, the universal emblem of mourning, signifies the sorrow of death and the sombreness of the tomb.

LEGG, Notes on History of Liturgical Colours (London, 1882); VAN DER STAPPEN, De Cebratione Missæ (Mechlin. 1902),120-133; MACALISTER, Ecclesiastical Vestments (London, 1896): pp. 223-28; BRAUN, Die liturgirsche Gewandung (Freiburg im Br. 1907), pp. 728-60; GIHR, The Holy Sacrifice of the Mass (tr., St. Louis, 1902), 297-312; ROCK, Church of Our Fathers (2nd edition, London 1904), II, 213 sq.; WILPERT, Gewandung der Christen (Freiburg, 1898).

Patrick Morrisroe.