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Cornette
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A cornette is a piece of headwear for religious sisters. It is essentially a type of wimple consisting of a large starched piece of white cloth that is folded upward in such a way as to create the resemblance of horns (French: cornes) on the wearer's head. Initially, the cornette was fashionable for some Parisian ladies around 1800,[1] wearing ones made of muslin or gauze and richly ornamented with lace.
Use by the Daughters of Charity
[edit]The cornette was retained as a distinctive piece of clothing into modern times by the Daughters of Charity, a society of apostolic life founded by St. Vincent de Paul in the mid-17th century.[2] The founder wanted to have a community of women that tended to the sick and poor, and were not required to remain in the papal enclosure as nuns do, resemble ordinary middle-class women as much as possible in their clothing, including the wearing of the cornette.
After the cornette generally fell into disuse, it became a distinctive feature of the Daughters of Charity, making theirs one of the most widely recognized religious habits. Because of the cornette, they were known in Ireland as the "butterfly nuns". In the United States, the Daughters of Charity wore wide, white cornettes for 114 years, from 1850 to 1964. With the changes following the apostolic constitution Perfectae Caritatis on the adaptation and renewal of religious life of the Second Vatican Council, religious congregations were asked to "return to the sources of the whole of the Christian life and to the primitive inspiration of the institutes, and their adaptation to the changed conditions of our time".[3] This, among others, meant that the Daughters of Charity ceased to wear their cornettes.[4]
In popular culture
[edit]Cornette-wearing nuns are common in contemporary films. The 1967 television series The Flying Nun features the American actress Sally Field as Sister Bertrille, who is able to fly due to her light weight and the heavily starched cornette.[5]
See also
[edit]- List of headgear
- Bandeau (headwear)
- Coif
- Guimpe
References
[edit]- ^ "Parisian Fashions". News. The Times. No. 5002. London. 13 January 1801. p. 3.
in fashion among the Ladies of Paris
- ^ "Daughters of Charity: Province of the West » History". daughtersofcharity.com. Retrieved 2016-11-13.
- ^ Perfectae caritatis, Art. 2
- ^ "Why the Daughters of Charity don't wear white cornettes any longer". Archived from the original on 2019-06-20. Retrieved 2019-06-20.
- ^ "Today in Catholic History – The Last Episode of The Flying Nun". Catholic: Under the Hood. 18 September 2010. Retrieved 5 September 2020.
External links
[edit]
Media related to cornettes at Wikimedia Commons
Cornette
View on Grokipediafrom Grokipedia
A cornette is a traditional starched white headdress characterized by its distinctive wide, wing-like extensions, worn historically by the Daughters of Charity of Saint Vincent de Paul, a Catholic society of apostolic life founded in 1633.[1] This garment, essentially an elaborate wimple, served both practical and symbolic purposes, protecting the wearer's face from weather while embodying humility and uniformity in service to the poor.[1]
The cornette originated in 17th-century France, where it was adopted by the Daughters in 1646 as part of their habit, inspired by the simple head coverings of local peasant women from the Île-de-France region.[1] Founders Saint Vincent de Paul and Saint Louise de Marillac emphasized attire that allowed the sisters—unlike cloistered nuns—to move freely among the laity, serving in homes, hospitals, streets, and during times of plague without drawing undue attention.[1] Initially lacking the prominent wings, the design evolved and was standardized by 1685 into a more structured form with stiffened linen or muslin flaps extending outward like horns, a style that became iconic for the community.[1]
By the 19th century, the cornette had become a hallmark of the Daughters' identity, worn by tens of thousands of sisters across five continents as they expanded globally to address poverty, education, and healthcare needs.[2] Its practicality for active ministry—covering the neck and shoulders while allowing visibility—was balanced by its role in fostering a sense of equality and detachment from worldly fashion, aligning with the society's rule of simple, consistent dress.[1] However, regional variations emerged; in industrial or tropical areas, the large wings sometimes hindered work, prompting early discussions on adaptation.[2]
The cornette remained largely unchanged for over three centuries until the reforms of the Second Vatican Council (1962–1965), which encouraged religious communities to modernize their practices for contemporary relevance.[2] In 1951, Pope Pius XII urged simpler habits suited to health and service demands, a call echoed by Daughters' leadership during five years of global consultations from 1959 to 1964.[2] On September 20, 1964, approximately 45,000 sisters in 60 provinces worldwide adopted a new, streamlined habit—retaining the blue gown and white coif but replacing the cornette with a shorter veil—for better adaptability in diverse climates and ministries.[2] Today, the cornette endures in historical representations and popular culture, symbolizing the Daughters' enduring commitment to Vincent de Paul's vision of charitable service.[2]
History
Origins and Early Development
The term "cornette" derives from the French word "corne" (horn) combined with the diminutive suffix "-ette," referring to a small horn or cornet-shaped element in women's headdresses, with early attestations appearing in the late 13th century to describe pointed flaps or extensions on headwear.[3] By the 17th century, it had evolved to denote a specific style of female head covering in French fashion, often featuring horn-like or stiffened side pieces for structure.[4] In mid-17th-century rural France, the cornette emerged as a practical headscarf primarily worn by working women and peasants, crafted from simple linen or muslin fabrics to shield the head and neck from environmental elements such as sun, wind, cold, and rain during outdoor labor.[5] This utilitarian design allowed for easy movement and protection without hindering daily tasks like farming or household work, reflecting the modest attire of the lower classes in an era of agrarian economy. The cornette developed as an adaptation of the medieval wimple—a chin-to-forehead cloth covering worn since the 12th century—by incorporating stiffened side panels that extended outward, enhancing functionality for active lifestyles while maintaining coverage.[6] This evolution coincided with the founding of the Daughters of Charity in 1633 by St. Vincent de Paul and St. Louise de Marillac in Paris, where the sisters initially adopted basic peasant garments, including early forms of the cornette, to embody humility and accessibility among the poor they served.[7]Evolution in the 19th Century
During the early 19th century, the cornette adopted features from prevailing Parisian fashion trends, where lightweight cornettes crafted from muslin or gauze, often edged with lace, emerged as elegant alternatives to bonnets for women.[8][9] These secular styles influenced the religious adaptation, with wings stiffened using starch—or occasionally wire—to achieve a pronounced, dramatic silhouette that projected modesty while echoing contemporary aesthetics.[10] Following the order's restoration in 1804 after the French Revolution, the Daughters of Charity standardized the cornette's wide, horn-like wings by the early 1800s, expanding them to enhance visibility amid urban crowds and underscore their distinctive role in serving the poor.[10][11] This transformation aligned with the community's rapid expansion throughout the century, as the stiffened design not only protected against weather but also symbolized their active apostolate beyond cloistered life.[12] Key developments included the introduction of more durable starched cotton variants in the mid-19th century, which better withstood the rigors of fieldwork.[11] The cornette reached American missions in 1850, when French sisters arrived in Emmitsburg, Maryland, facilitating the union with St. Elizabeth Ann Seton's community and prompting a shift from black caps to the iconic white-winged style by 1851.[13] This dissemination continued westward, with sisters establishing outposts in California by 1858.[11] The garment's construction emphasized practicality and uniformity: hand-sewn from modest white linen or cotton, the cornette required rigorous daily maintenance, including starching for stiffness and ironing to preserve its rigid, upright wings.[10] By the late 19th century, these high, widespread wings had become the cornette's defining feature, measuring up to three feet across in some iterations to amplify the sisters' presence in charitable works.[10]Design and Construction
Components and Materials
The cornette consists of a central rectangular white cloth serving as a wimple base, which is folded over the head and shoulders to cover the neck and frame the face. This base integrates a close-fitting chin band and extends into a neck veil for full coverage. Two extended side wings project forward from the sides, forming horn-like projections that frame the face and extend outward, with size varying by era and region.[14][5] The primary material is starched white linen or cotton, chosen for its durability and ability to hold a rigid shape after stiffening. Early versions used simple linen not finer than household fabrics to maintain modesty, with starch applied to raise and stiffen the edges into the characteristic wings. Some variants feature minimal lace trims along the edges, though traditional guidelines prohibited ornate decorations to avoid vanity.[14][5] Construction involves a multi-step process of cutting and sewing the rectangular cloth into the wimple base and wing extensions, followed by pleating and ironing the wings to set their shape. The fabric is heavily starched, often soaked and dried multiple times, then carefully folded and pressed to create the upright wings while ensuring the wimple adheres smoothly to the head and neck. It is secured to the underlying habit with straight pins along the edges for stability during active ministry.[2][1] Functionally, the cornette's design facilitates airflow beneath the wings, aiding ventilation in hot climates, while the projecting structure provides shade and protection from sun and rain during outdoor service among the poor. The stiff wings also shield the face from environmental elements like dust and wind, aligning with the practical needs of the wearer's apostolic work.[1]Variations Over Time
The cornette, initially adopted by the Daughters of Charity as a simple protective head covering resembling local peasant attire in the Île-de-France region, lacked the distinctive wings seen in later iterations. By 1685, it had become a standardized element of the habit, but early 18th-century prototypes featured narrower or absent wings, folded more closely to the head for practicality in daily service.[1] Over time, the design evolved toward more pronounced wings; by the 19th century, the cornette had developed into a stiffer, winged structure, with American versions in the 20th century being broader and more rigid, creating a dramatic silhouette that symbolized visibility and accessibility in charitable work.[10] This shift reflected broader adaptations for urban and missionary environments, where the extended wings allowed sisters to carry items or shield the face more effectively.[2] Regional differences emerged as the cornette spread beyond France, with French originals often incorporating subtle lace trims on finer materials in urban areas, echoing middle-class fashions while maintaining humility.[15] In contrast, American adaptations, adopted province-wide by 1855 after training in France, emphasized stark white, heavily starched versions made from imported navy-blue wool habits paired with the headpiece, prioritizing durability for frontier and hospital service.[13] These U.S. cornettes were broader and more rigid, aiding identification in diverse communities but posing maintenance challenges in non-European climates.[16] During World War I, Daughters of Charity serving as military nurses wore the cornette while serving in Italian field hospitals, including Base Hospital 102 alongside the American Expeditionary Forces, demonstrating its versatility despite the demanding conditions.[17] Maintenance practices for the cornette evolved alongside technological advances in convents. In the 19th century, following the order's restoration after the French Revolution, starch was introduced to achieve the signature stiffness, applied by hand to the linen fabric for shaping.[18] By the mid-20th century, this process shifted to more efficient methods, including machine-pressing with steel plates and irons to set the wings precisely, reducing labor in larger communities while preserving the form's crisp appearance.[19]Religious Use
Adoption by the Daughters of Charity
The Daughters of Charity, founded in 1633 by St. Vincent de Paul and St. Louise de Marillac in Paris, adopted a simple peasant-style dress from the outset to embody humility and accessibility among the poor they served.[1] The cornette, a white linen headdress, was incorporated in 1646 at Louise de Marillac's suggestion to shield the sisters' faces from sun, wind, and rain during their outdoor ministries, with Vincent de Paul promptly approving its use.[1] By 1685, under the guidance of Vincent's successors, the cornette had evolved into a standardized element of the habit, transforming from a basic protective covering into a distinctive feature with stiffened wings that marked the sisters' identity.[1][11] The cornette held deep symbolic significance, its extended wings evoking readiness for swift service to those in need and ensuring high visibility in crowds during acts of charity like almsgiving and nursing.[20] Often described as an international emblem of charity—comparable to the cross for faith—it underscored the sisters' commitment to active ministry over traditional monastic enclosure, aligning with their annual vows of poverty, chastity, obedience, and service to the poor.[1] By the early 18th century, it was formally mandated in the community's common rules, published in 1672 and revised over time, to promote uniformity and detachment from personal preferences.[10] The cornette accompanied the order's global expansion, worn by thousands of sisters in missions across Europe, Asia, Africa, and the Americas by 1900, including 37 houses in England alone.[21] In the United States, it became integral following the 1850 affiliation of St. Elizabeth Ann Seton's Sisters of Charity with the French Daughters, building on early missions that began in 1812 in Maryland under Seton's leadership; sisters in the cornette staffed hospitals, schools, and orphanages through the 1960s.[11][22] Daily protocols emphasized practicality and poverty: the cornette was paired with a long blue wool habit symbolizing devotion to the Virgin Mary, starched for structure, and laundered regularly by the community to maintain equality among sisters, reinforcing their itinerant vow of service without fixed enclosure.[5][11]Use by Other Religious Orders
While the cornette is most closely associated with the Daughters of Charity, several autonomous branches of the Sisters of Charity, inspired by the Vincentian tradition of service to the poor, adopted similar forms of the headdress as part of their habits. The Religious Sisters of Charity, founded in Ireland in 1815 by Mary Aikenhead, incorporated the distinctive winged cornette into their gray habit, earning them the nickname "butterfly nuns" due to its wide, fluttering appearance during movement.[23] This variant persisted until the mid-20th century, with modifications in the 1960s aligning with broader post-Vatican II habit simplifications, though the order retained elements of the cornette style into the 1970s before transitioning to secular attire.[23] Similarly, the Sisters of Charity of the Blessed Virgin Mary (BVMs), established in 1833 by Mary Frances Clarke in Ireland and later expanding to the United States, wore a cornette over a gray dress and shorter collar, distinguishing their habit while echoing the Vincentian emphasis on active ministry.[24] Their cornette, often paired with a small cap underneath, remained a key identifier until habit reforms in the 1960s.[24] Use of the cornette extended more peripherally to Vincentian lay associates and related groups, where simplified versions occasionally appeared in formation or service contexts, though not as standardized attire. In contrast, enclosed contemplative orders such as the Carmelites largely eschewed the cornette, favoring enclosed veils and mantles suited to monastic life rather than the open, winged design intended for outdoor apostolates.[25] Dominican sisters, for instance, opted for a traditional black-and-white veiled habit without the cornette's prominent wings, prioritizing symbolism tied to their preaching mission over the practical sun protection and visibility the cornette provided in charitable work.[25] Cloistered communities rejected the cornette outright for its impracticality in confined settings, where habits emphasized seclusion and uniformity over mobility.[25] Derivative adaptations of the cornette emerged in 19th-century European nursing contexts, where simplified, starched versions influenced secular and religious nursing attire to promote hygiene by covering hair and preventing contamination in medical environments. These modified cornettes, often smaller and less ornate, were adopted by various hospital-based congregations focused on healthcare, diverging from the full winged style to better suit clinical demands while retaining the white linen for cleanliness and identification.[26]Decline and Legacy
Post-Vatican II Changes
The reforms of the Second Vatican Council prompted significant adaptations in religious habits, including the discontinuation of the cornette by the Daughters of Charity. The Council's 1965 decree Perfectae Caritatis emphasized that religious attire should be simple, modest, and suited to the requirements of health, time, place, and ministry, calling for changes to habits that no longer met these norms to better align with modernity and inculturation.[27] This document urged communities to adapt their customs to contemporary circumstances, particularly in apostolic works serving the poor.[27] Anticipating these directives amid broader calls for renewal starting under Pope Pius XII in the 1950s, the Daughters of Charity undertook five years of global consultations from 1959 to 1964 under Superioress General Mother Suzanne Guillemin.[2] On September 20, 1964, approximately 45,000 sisters across 60 provinces and five continents adopted a new habit worldwide, replacing the cornette with a simpler coiffe headpiece that retained the order's traditional blue and white colors while prioritizing practicality.[2] The decision, approved by the Sacred Congregation of Religious in Rome, marked the end of the cornette's use in active service.[28] Practical challenges drove the shift, as the cornette's large wings obstructed peripheral vision—exemplified by a 1964 car accident that killed three sisters—and impeded mobility in modern settings like hospitals, schools, and vehicles essential to the order's ministries.[16] The headdress also evoked an outdated image of enclosure, clashing with the Daughters' apostolic vocation to serve amid the world rather than withdraw from it.[28] Subsequent refinements simplified the habit further to a basic veil, enhancing adaptability to diverse cultural and professional contexts.[29] The transition refocused the order on its core charism of charity toward the marginalized, reducing barriers to engagement in contemporary society and allowing greater emphasis on service over symbolic visibility.[2] Today, cornettes are archived in institutional collections, such as the Daughters of Charity Provincial Archives, preserving their historical significance.[2]Modern References and Adaptations
The cornette, once a defining element of the Daughters of Charity's habit, is preserved and displayed in the order's Provincial Archives in Emmitsburg, Maryland, where artifacts from various eras of their history are maintained for educational purposes.[30] A dedicated exhibit on the evolution of the Daughters' habit, including the cornette, opened in 2023, highlighting its historical significance and allowing visitors to view original pieces and learn about their construction and symbolism.[31] These archives serve as a key repository, ensuring the cornette's legacy endures through curation and public access, though no evidence exists of displays in the Vatican Museums. In contemporary fashion, the cornette has inspired designers seeking to reinterpret historical religious attire. For the spring/summer 2014 Moschino collection, creative director Rossella Jardini incorporated a white winged headdress that directly evoked the starched cornette of the Daughters of Charity, blending it with playful elements reminiscent of popular cultural icons like The Flying Nun.[32] This design was featured in The Metropolitan Museum of Art's 2018 "Heavenly Bodies: Fashion and the Catholic Imagination" exhibition, underscoring the cornette's influence on haute couture as a symbol of structured modesty and historical whimsy. Such nods appear occasionally in runway shows and costume designs for theatrical productions portraying religious figures, adapting the form for modern expressive purposes without full replication. Post-Vatican II religious life has seen limited adaptations of the cornette within the Daughters of Charity, primarily in commemorative contexts rather than daily wear. While the order adopted a simplified blue habit in 1964, elements of traditional attire, including veiled headpieces, may be worn during jubilees or special events to honor heritage, aligning with the charism of service.[28] Scholarly examinations of the cornette contribute to broader discussions in habitology and religious studies, focusing on its role in evolving concepts of gender, modesty, and identity among women religious. Research highlights how the cornette, as part of the traditional habit, enforced norms of enclosure and humility but also symbolized empowerment through service, with its post-1960s abandonment reflecting shifts toward personal autonomy and societal gender equality.[33] Vatican II's Perfectae caritatis (1965) reinforced this trajectory by mandating habits be "simple and modest, poor and at the same becoming," suited to contemporary needs, which has precluded any full revival of the elaborate cornette in favor of adaptable, unassuming attire.[27] These analyses, often in journals on fashion and religious identity, emphasize the cornette's transition from a marker of gendered seclusion to a historical artifact informing modern feminist interpretations of modesty.Cultural Representations
In Television and Film
The cornette gained prominent visibility in mid-20th-century American television through the sitcom The Flying Nun, which aired on ABC from 1967 to 1970 and consisted of 82 episodes.[34] In the series, Sally Field portrayed Sister Bertrille, a young novice nun whose lightweight frame—depicted as weighing only 90 pounds—combined with the large, winged cornette of her habit to enable flight when caught by strong winds, explained through rudimentary aerodynamics rather than supernatural means.[35] This portrayal drew inspiration from the real-life attire of the Daughters of Charity, whose distinctive cornette served as the visual basis for the character's headpiece.[36] In film, the cornette appeared more subtly in 1940s Hollywood depictions of religious life, often as part of habits symbolizing devotion and discipline. By the 1980s, as the effects of Vatican II reforms became a subject of reflection, documentaries began featuring the cornette to illustrate the transition from traditional habits to modern attire. Production techniques for The Flying Nun emphasized the cornette's role in the show's fantastical elements, with custom designs crafted to support aerial stunts using wires and harnesses hidden beneath the lightweight fabric, allowing Field to simulate flight in scenes set against Puerto Rican backdrops. These practical effects reinforced the cornette's symbolic function as both a religious emblem and a narrative device for whimsy. The series' portrayal had a notable cultural ripple, reinforcing stereotypes of nuns as lighthearted figures while inadvertently boosting awareness of the Daughters of Charity; the National Catholic Office for Radio and Television endorsed the show as a tool to promote vocations, resulting in increased public interest and inquiries to religious orders during its run.[36]In Literature and Art
The cornette, the distinctive winged headdress of the Daughters of Charity, has served as a powerful visual symbol in religious art, representing humility, service to the poor, and the order's commitment to active ministry rather than cloistered life. Often portrayed in paintings from the 19th and 20th centuries, it underscores the sisters' role in charitable works such as nursing, education, and orphan care, with its wide, starched wings evoking both practicality for outdoor labor and an angelic aura of mercy.[1] Notable depictions include Karol Tichy's oil painting Funeral in an Orphanage (c. 1920s), housed in the National Museum in Warsaw, which shows cornette-wearing Daughters of Charity tending to grieving children during a solemn burial service, emphasizing their compassionate presence in times of loss. Similarly, Armand Gautier's 19th-century work Sisters of Charity captures three sisters in their full habit, including the prominent white cornette, framed against a church portal to highlight their integration into everyday urban ministry. American artist Dusti Bongé incorporated surrealist elements in her Nuns series (1940s), abstracting the black habit and white cornette into ethereal, winged forms that blend religious iconography with modernist symbolism of transcendence and otherworldliness.[37][38][39] In literature, the cornette appears more sparingly, often as a marker of the Daughters of Charity's unique identity in historical and mid-20th-century fiction. Tere Ríos's novel The Fifteenth Pelican (1965) prominently features the headdress in its whimsical narrative about Sister Bertrille, a lighthearted novice whose oversized cornette catches the wind, enabling improbable flights while she serves in a Puerto Rican convent; this portrayal popularized the garment's aerodynamic shape in popular imagination. Earlier historical novels, such as William Henry Anderdon's Antoine de Bonneval: A Tale of Paris in the Days of St. Vincent de Paul (1867), reference the early Daughters of Charity's attire during the order's founding era, portraying their simple, peasant-inspired habits—including precursors to the cornette—as tools for blending into society to aid the needy, though without detailed focus on the wings.[40][41]References
- https://en.wikisource.org/wiki/Catholic_Encyclopedia_%281913%29/Sisters_of_Charity
- https://commons.wikimedia.org/wiki/File:Armand_Gautier_Nuns.gif