remedy, but it must not be administered until the acute symptoms | lands of inheritance from an ancestor to two or more persons have subsided, else it will often increase them. It is best given possessing an equal title to them. It arises either by common in cachets or in three times its own bulk of mucilage of acacia. law, as where an ancestor dies intestate, leaving two or more Various devices are adopted to disguise its odour in the breath. females as his co-heiresses, who then take as coparceners or The clinical evidence clearly shows that none of the numerous parceners; or, by particular custom, as in the case of gavelkind vegetable rivals to copaiba is equal to it in therapeutic value. lands, which descend to all males in equal degrees, or in deCOPAL (Mexican copalli, incense), a hard lustrous resin, fault of males, to all the daughters equally. These co-heirs, or varying in hue from an almost colourless transparent mass to a parceners, have been so called, says Littleton (§ 241), "because bright yellowish-brown, having a conchoidal fracture, and, when by writ the law will constrain them, that partition shall be made dissolved in alcohol, spirit of turpentine, or any other suitable among them." Coparcenary so far resembles joint tenancy in menstruum, forming one of the most valuable varnishes. Copal that there is unity of title, interest and possession, but whereas is obtained from a variety of sources; the term is not uniformly joint tenants always claim by purchase, parceners claim by applied or restricted to the products of any particular region or descent, and although there is unity of interest there is no series of plants, but is vaguely used for resins which, though entirety, for there is no jus accrescendi or survivorship. Covery similar in their physical properties, differ somewhat in parcenary may be dissolved (a) by partition; (b) by alienation their constitution, and are altogether distinct as to their source. by one coparcener; (c) by all the estate at last descending to one Thus the resin obtained from Trachylobium Hornemannianum is coparcener, who thenceforth holds in severalty; (d) by a comknown in commerce as Zanzibar copal, or gum animé. Mada-pulsory partition or sale under the Partition Acts. gascar copal is the produce of T. verrucosum. From Guibourtia copallifera is obtained Sierra Leone copal, and another variety of the same resin is found in a fossil state on the west coast of Africa, probably the produce of a tree now extinct. From Brazil and other South American countries, again, copal is obtained which is yielded by Trachylobium Martianum, Hymenaea Courbaril, and various other species, while the dammar resins and the piney varnish of India are occasionally classed and spoken of as copal. Of the varieties above enumerated by far the most important from a commercial point of view is the Zanzibar or East African copal, yielded by Trachylobium Hornemannianum. The resin is found in two distinct conditions: (1) raw or recent, called by the inhabitants of the coast sandarusiza miti or chakazi, the latter name being corrupted by Zanzibar traders into "jackass" copal; and (2) ripe or true topal, the sandarusi inti of the natives. The raw copal, which is obtained direct from the trees, or found at their roots or near the surface of the ground, is not regarded by the natives as of much value, and does not enter into European commerce. It is sent to India and China, where it is manufactured into a coarse kind of varnish. The true or fossil copal is found embedded in the earth over a wide belt of the mainland coast of Zanzibar, on tracts where not a single tree is now visible. The copal is not found at a greater depth in the ground than 4 ft., and it is seldom the diggers go deeper than about 3 ft. It occurs in pieces varying from the size of small pebbles up to masses of several ounces in weight, and occasionally lumps weighing 4 or 5 lb have been obtained. After being freed from foreign matter, the resin is submitted to various chemical operations for the purpose of clearing the “ goose-skin," the name given to the peculiar pitted-like surface possessed by fossil copal. The goose-skin was formerly supposed to be caused by the impression of the small stones and sand of the soil into which the soft resin fell in its raw condition; but it appears that the copal when first dug up presents no trace of the goose-skin, the subsequent appearance of which is due to oxidation or intermolecular change. The term coparcenary " is not in use in the United States, joint heirship being considered as tenancy in common. COPE, EDWARD DRINKER (1840-1897), American palaeontologist, descended from a Wiltshire family who emigrated about 1687, was born in Philadelphia on the 28th of July 1840. At an early age he became interested in natural history, and in 1859 communicated a paper on the Salamandridae to the Academy of Natural Sciences at Philadelphia. He was educated partly in the University of Pennsylvania, and after further study and travel in Europe was in 1865 appointed curator to the Academy of Natural Sciences, a post which he held till 1873. In 1864-67 he was professor of natural science in Haverford College, and in 1889 he was appointed professor of geology and palaeontology in the University of Pennsylvania. To the study of the American fossil vertebrata he gave his special attention. From 1871 to 1877 he carried on explorations in the Cretaceous strata of Kansas, the Tertiary of Wyoming and Colorado; and in course of time he made known at least 600 species and many genera of extinct vertebrata new to science. Among these were some of the oldest known mammalia, obtained in New Mexico. He served on the U.S. Geological Survey in 1874 in New Mexico, in 1875 in Montana, and in 1877 in Oregon and Texas. He was also one of the editors of the American Naturalist. He died in Philadelphia on the 12th of April 1897. PUBLICATIONS.-Reports for U.S. Geological Survey on Eocene tions of the West (1875); Vertebrata of the Tertiary Formations of Vertebrata of Wyoming (1872); on Vertebrata of Cretaceous Formathe West (1884); The Origin of the Fittest: Essays on Evolution (New York, 1887); The Primary Factors of Organic Evolution (Chicago, 1896). Memoir by Miss Helen D. King, American Geologist, Jan. American Geologist, Aug. 1900 (with portrait). 1899 (with portrait and bibliography); also memoir by P. Frazer, COPE, EDWARD MEREDITH (1818-1873), English classical scholar, was born in Birmingham on the 28th of July 1818. He was educated at Ludlow and Shrewsbury schools and Trinity College, Cambridge, of which society he was elected fellow in 1842, having taken his degree in 1841 as senior classic. He was for many years lecturer at Trinity, his favourite subjects being the Greek tragedians, Plato and Aristotle. When the professorship of Greek became vacant, the votes were equally divided between Cope and B. H. Kennedy, and the latter was appointed by the chancellor. It is said that the keenness of Cope's disby which he was attacked in 1869, and from which he never appointment was partly responsible for the mental affliction recovered. He died on the 5th of August 1873. As his published works show, Cope was a thoroughly sound scholar, with perhaps a tendency to over-minuteness. He was the author of An Introduction to Aristotle's Rhetoric (1867), a standard work; The Rhetoric of Aristotle, with a commentary, revised and edited by E. Sandys (1877); translations of Plato's Gorgias (2nd ed., 1884) and Phaedo (revised by H. Jackson, 1875). Mention Sophists, in the Cambridge Journal of Classical Philology, vols. i., may also be made of his criticism of Grote's account of the ii., iii. (1854-1857). COPALITE, or COPALINE, also termed "fossil resin" and "Highgate resin," a naturally occurring organic substance found as irregular pieces of pale-yellow colour in the London clay at Highgate Hill. It has a resinous aromatic odour when freshly broken, volatilizes at a moderate temperature, and burns readily with a yellow, smoky flame, leaving scarcely any ash. COPÁN, an ancient ruined city of western Honduras, near the Guatemalan frontier, and on the right bank of the Río Copán, a tributary of the Motagua. For an account of its elaborately sculptured stone buildings, which rank among the most celebrated monuments of Mayan civilization, see CENTRAL AMERICA: Archaeology. The city is sometimes regarded as identical with. the Indian stronghold which, after a heroic resistance, was stormed by the Spaniards, under Hernando de Chaves, in 1530. It has given its name to the department in which it is situated. COPARCENARY (co-, with, and parcener, i.e. sharer; from O. Fr. parçonier, Lat. partitio, division), in law, the descent of The chief authority for the facts of Cope's life is the memoir prefixed to vol. i. of his edition of The Rhetoric of Aristotle. COPE (M.E. cape, cope, from Med. Lat. capa, cappa), a liturgical vestment of the Western Church. The word " cope,' now confined to this sense, was in its origin identical with "cape" and "cap," and was used until comparatively modern times also for an out-door cloak, whether worn by clergy or laity. This, indeed, was its original meaning, the cappa having been an outer garment common to men and women whether clerical or lay (see Du Cange, Glossarium, s.v.). The word pluviale (rain-cloak), which the cope bears in the Roman Church, is exactly parallel so far as change of meaning is concerned. In both words the etymology reveals the origin of the vestment, which is no more than a glorified survival of an article of clothing worn by all and sundry in ordinary life, the type of which survives, e.g. in the ample hooded cloak of Italian military officers. This origin is clearly traceable in the shape and details of the cope. When spread out this forms an almost complete semicircle. Along the straight edge there is usually a broad band, and at the neck is attached the "hood" (in Latin, the clypeus or shield), i.e. a shield-shaped piece of stuff which hangs down over the back. The vestment is secured in front by a broad tab sewn on to one side and fastening to the other with hooks, sometimes also by a brooch (called the morse, Lat. morsus). Sometimes the morse is attached as a mere ornament to the cross-piece. The cope thus preserves the essential shape of its secular original, and even the hood, though now a mere ornamental appendage, is a survival of an actual hood. The evolution of this latter into its present form was gradual; first the hood became too small for use, then it was transformed into a small triangular piece of stuff (13th century), which in its turn grew (14th and 15th centuries) into the shape of a shield (see Plate II., fig. 4), and this again, losing its pointed tip in the 17th century, expanded in the 18th into a flap which was sometimes enlarged so as to cover the whole back down to the waist. In its general effect, however, a cope now no longer suggests a waterproof." It is sometimes elaborately embroidered all over; more usually it is of some rich material, with the borders in front and the hood embroidered, while the morse has given occasion for some of the most beautiful examples of the goldsmith's and jeweller's craft (see Plate II., figs. 5, 6). The use of the cope as a liturgical vestment can be traced to the end of the 8th century: a pluviale is mentioned in the foundation charter of the monastery of Obona in Spain. Before this the so-called cappa choralis, a black, bell-shaped, hooded vestment with no liturgical significance, had been worn by the secular and regular clergy at choir services, processions, &c. This was in its origin identical with the chasuble (q.v.), and if, as Father Braun seems to prove, the cope developed out of this, cope and chasuble have a common source.1 Father Braun cites numerous inventories and the like to show that the cope (pluviale) was originally no more than a more elaborate cappa worn on high festivals or other ceremonial occasions, sometimes by the whole religious community, sometimes-if the stock were limited-by those, e.g. the cantors, &c., who were most conspicuous in the ceremony. In the 10th century, partly under the influence of the wealthy and splendour-loving community of Cluny, the use of the cope became very widespread; in the 11th century it was universally worn, though the rules for its ritual use had not yet been fixed. It was at this time, however, par excellence the vestment proper to the cantors, choirmaster and singers, whose duty it was to sing the invitatorium, responses, &c., at office, and the introitus, graduale, &c., at Mass. This use survived in the ritual of the pre-Reformation Church in England, and has been introduced in certain Anglican churches, e.g. St Mary Magdalen's, Munster Square, in London. 1 This derivation, suggested also by Dr Legg (Archaeol. Journal, 51, p. 39, 1894), is rejected by the five bishops in their report to Convocation (1908). Their statement, however, that it is " pretty clear" that the cope is derived from the Roman lacerna or birrus is very much open to criticism. We do not even know what the appearance and form of the birrus were; and the question of the origin of the cope is not whether it was derived from any garment of the time of the Roman Empire, and if so from which, but what garment in use in the 8th and 9th centuries it represents. By the beginning of the 13th century the liturgical use of the cope had become finally fixed, and the rules for this use included by Pope Pius V. in the Roman Missal and by Clement VIII. in the Pontificale and Caeremoniale were consequently not new, but in accordance with ancient and universal custom. The substitution of the cope for the chasuble in many of the functions for which the latter had been formerly used was primarily due to the comparative convenience of a vestment opened at the front, and so leaving the arms free. A natural conservatism preserved the chasuble, which by the 9th century had acquired a symbolical significance, as the vestment proper to the celebration of Mass; but the cope took its place in lesser functions, i.e. the censing of the altar during the Magnificat and at Mattins (whence the German name Rauchmantel, smoke-mantel), processions, solemn consecrations, and as the dress of bishops attending synods. It is clear from this that the cope, though a liturgical, was never a sacerdotal vestment. If it was worn by priests, it could also be worn by laymen, and it was 1 unit) od plant never worn by priests in their bab sacerdotal, i.e. their sacrificial, who don capacity. For this reason it was not rejected with the "Mass dog ein vestments by the English,bor Church at the Reformation, in rem spite of the fact that it was in mo no ecclesiastical sense "primi-d tive." By the First Prayer-book od of Edward VI., which repre- polo sented a compromise, it was directed to be worn as an alternative to the "vestment "(i.e. chasuble) at the celebration ofF the Communion; this at least seems the plain meaning of the words vestment or cope," though they have been otherwise interpreted. In the Second Prayer-book vestment. and cope alike disappear; but a cope was worn by the prelate who consecrated Archbishop Parker, and by the " gentlemen " as well as the priests of Queen Elizabeth's chapel; and, finally, by the 24th canon (of 1603) a "decent cope" was prescribed for the "principal minister" at the celebration of Holy Communion in cathedral churches as well as for the "gospeller and epistler." Except at royal coronations, however, the use of the cope, even in cathedrals, had practically ceased in England before the ritual revival of the 19th century restored its popularity. The disuse implied no doctrinal change; the main motive was that the stiff vestment, high in the neck, was incompatible with a full-bottomed wig. Scarlet copes with white fur hoods have been in continuous use on ceremonial occasions in the universities, and are worn by bishops at the opening of parliament.. 66 FIG. 1. Seventeenth Century Coronation Cope at Westminster Abbey. The With the liturgical cope may be classed the red mantle (mantum), which from the 11th century to the close of the middle ages formed, with the tiara, the special symbol of the papal dignity. The immantatio was the solemn investiture Papal of the new pope immediately after his election, by mantum. means of the cappa rubea, with the papal powers. This ceremony was of great importance. In the contested election of 1159, for instance, though a majority of the cardinals had elected Cardinal Roland (Alexander III.), the defeated candidate Cardinal Octavian (Victor IV.), while his rival was and put it on his own shoulders hastily, upside down; and it modestly hesitating to accept the honour, seized the pluviale was on this ground that the council of Pavia in 1160 based their declaration in favour of Victor, and anathematized Alexander; The immantatio fell out of use during the papal exile at Avignon and was never restored. It will be convenient here to note other vestments that have developed out of the cappa. The cappa choralis has already been mentioned; it survived as a choir vestment that in winter | &c., and Frederiksberg), and Amagerbro to the south of took the place of the surplice, rochet or almuce. In the 12th Christianshavn. The cappa magna.. century it was provided with arms (cappa manicata), but the use of this form was forbidden at choir services and other liturgical functions. From the hood of the cappa was developed the almuce (q.v.). At what date the cappa choralis developed into the cappa magna, a non-liturgical vestment peculiar to the pope, cardinals, bishops and certain privileged prelates, is not known; but mention of it is found as early as the 15th century. This vestment is a loose robe, with a large hood (lined with fur in winter and red silk in summer) and a long train, which is carried by a cleric called the caudatarius. Its colour varies with the hierarchical rank of the wearer:-red for cardinals, purple for bishops, &c.; or, if the dignitary belong to a religious order, it follows the colour of the habit of the order. The right to wear a violet cappa magna is conceded by the popes to the chapters of certain important cathedrals, but the train in this case is worn folded over the left arm or tied under it. It may only be worn by them, moreover, in their own church, or when the chapter appears elsewhere in its corporate capacity. The mozzetta. Lastly, from the cappa is probably derived the mozzetta, a short cape with a miniature hood, fastened down the front with buttons. The name is derived from the Italian mozzare, to cut off, and points to its being an abbreviated cappa, as the episcopal " apron " is a shortened cassock. It is worn over the rochet by the pope, cardinals, bishops and prelates, the colours varying as in the case of the cappa magna. Its use as confined to bishops can be traced to the 16th century. See Joseph Braun, S. J., Die liturgische Gewandung (Freiburg im Breisgau, 1907); also the bibliography to the article VESTMENTS. (W. A. P.) COPELAND, HENRY, an 18th century English cabinet-maker and furniture designer. He appears to have been the first manufacturing cabinet-maker who published designs for furniture. A New Book of Ornaments appeared in 1746, but it is not clear whether the engravings with this title formed part of a book, or were issued only in separate plates; a few of the latter are all that are known to exist. Between 1752 and 1769 several collections of designs were produced by Copeland in conjunction with Matthias Lock; in one of them Copeland is described as of Cheapside. Some of the original drawings are in the National Art library at the Victoria and Albert Museum. Copeland was probably the originator of a peculiar type of chairback, popular for a few years in the middle of the 18th century, consisting of a series of interlaced circles. Much of his work has been attributed to Thomas Chippendale, and it is certain that one derived many ideas from the other, but which was the originator and which the copyist is by no means clear. The dates of Copeland's birth and death are unknown, but he was still living in 1768. COPENHAGEN (Danish Kjöbenhavn), the capital of the kingdom of Denmark, on the east coast of the island of Zealand (Sjaelland) at the southern end of the Sound. Pop. (1901) 400,575. The latitude is approximately that of Moscow, Berwickon-Tweed and Hopedale in Labrador. The nucleus of the city is built on low-lying ground on the east coast of the island of Zealand, between the sea and a series of small freshwater lakes, known respectively as St Jörgens Sö, Peblings Sö and Sortedams Sö, a southern portion occupying the northern part of the island of Amager. An excellent harbour is furnished by the natural channel between the two islands; and communication from one division to the other is afforded by two bridges-the Langebro and the Knippelsbro, which replaced the wooden drawbridge built by Christian IV. in 1620. The older city, including both the Zealand and Amager portions, was formerly surrounded by a complete line of ramparts and moats; but pleasant boulevards and gardens now occupy the westward or landward site of fortifications. Outside the lines of the original city (about 5 m. in circuit), there are extensive suburbs, especially on the Zealand side (Österbro, Nörrebro and Vesterbro or Österfölled, The area occupied by the inner city is known as Gammelsholm (old island). The main artery is the Gothersgade, running from Kongens Nytorv to the western boulevards, and separating a district of regular thoroughfares and rectangular blocks to the north from one of irregular, narrow and picturesque streets to the south. The Kongens Nytorv, the focus of the life of the city and the centre of road communications, is an irregular open space at the head of a narrow arm of the harbour (Nyhavn) inland from the steamer quays, with an equestrian statue of Christian V. (d. 1699) in the centre. The statue is familiarly known as Hesten (the horse) and is surrounded by noteworthy buildings. The Palace of Charlottenborg, on the east side, which takes its name from Charlotte, the wife of Christian V., is a huge sombre building, built in 1672. Frederick V. made a grant of it to the Academy of Arts, which holds its annual exhibition of paintings and sculpture in April and May, in the adjacent Kunstudstilling (1883). On the south is the principal theatre, the Royal, a beautiful modern Renaissance building (1874), on the site of a former theatre of the same name, which dated from 1748. Statues of the poets Ludvig Holberg (d. 1754), and Adam Öhlenschläger (d. 1850), the former by Stein and the latter by H. V. Bissen, stand on either side of the entrance, and the front is crowned by a group by King, representing Apollo and Pegasus, and the Fountain of Hippocrene. Within, among other sculptures, is a relief figure of Ophelia, executed by Sarah Bernhardt. Other buildings in Kongens Nytorv are the foreign office, several great commercial houses, the commercial bank, and the Thotts Palais of c. 1685. The quays of the Nyhavn are lined with old gabled houses. From the south end of Kongens Nytorv, a street called Holmens Kanal winds past the National Bank to the Holmens Kirke, or church for the royal navy, originally erected as an anchor-smithy by Frederick II., but consecrated by Christian IV., with a chapel containing the tombs of the great admirals Niels Juel and Peder Tordenskjöld, and wood-carving of the 17th century. The street then crosses a bridge on to the Slottsholm, an island divided from the mainland by a narrow arm of the harbour, occupied mainly by the Christiansborg and adjacent buildings. The royal palace of Christiansborg, originally built (1731-1745) by Christian VI., destroyed by fire in 1794, and rebuilt, again fell in flames in 1884. Fortunately most of the art treasures which the palace contained were saved. A decision was arrived at in 1903, in commemoration of the jubilee of the reign of Christian IX., to rebuild the palace for use on occasions of state, and to house the parliament. On the Slottsplads (Palace Square) which faces east, is an equestrian statue of Frederick VII. There are also preserved the bronze statues which stood over the portal of the palace before the firefigures of Strength, Wisdom, Health and Justice, designed by Thorvaldsen. The palace chapel, adorned with works by Thorvaldsen and Bissen, was preserved from the fire, as was the royal library of about 540,000 volumes and 20,000 manuscripts, for which a new building in Christiansgade was designed about 1900. The exchange (Börsen), on the quay to the east, is an ornate gabled building erected in 1619-1640, surmounted by a remarkable spire, formed of four dragons, with their heads directed to the four points of the compass, and their bodies entwining each other till their tails come to a point at the top. To the south is the arsenal (Töjhus) with a collection of ancient armour. The Thorvaldsen museum (1839-1848), a sombre building in a combination of the Egyptian and Etruscan styles, consists of two storeys. In the centre is an open court, containing the artist's tomb. The exterior walls are decorated with groups of figures of coloured stucco, illustrative of events connected with Thorvaldsen's life. Over the principal entrance is the chariot of Victory drawn by four horses, executed in bronze from a model by Bissen. The front hall, corridors and apartments are painted in the Pompeian style, with brilliant colours and with great artistic skill. The museum contains about 300 The medallions with which it is embroidered contain representations of Christ on the Cross, Christ and St Mary Magdalene, Christ and Thomas, the death of the Virgin, the burial and coronation of the Virgin, St Michael and the twelve Apostles. Of the latter, four survive only in tiny fragments. The spaces between the four rows of medallions are filled with six-winged cherubim. The ground-work of the vestment is green silk embroidery, that of the medallions red. The figures are worked in silver and gold thread and coloured silks. The lower border and the orphrey with coats of arms do not belong to the original cope and are of somewhat later date. The cope belonged to the convent of Syon near Isleworth, was taken to Portugal at the Reformation, brought back early in the 19th century to England by exiled nuns and given by them to the Earl of Shrewsbury. In 1864 it was bought by the South Kensington Museum. FIG. 3.-COPE OF BLUE SILK VELVET, WITH APPLIQUÉ WORK AND EMBROIDERY. In the middle of the orphrey is a figure of Our Lord holding the orb in His left hand, and with His right hand raised in benediction. To the right are figures of St Peter, St Bartholomew and St Ursula; and to the left, St Paul, St John the Evangelist and St Andrew. On the hood is a seated figure of the Virgin Mary holding the Infant Saviour. GERMAN: early 16th century. (In the Victoria and Albert Museum, No. 91. 1904.) VII. 96 FIG. 4.-COPE OF EMBROIDERED PURPLE SILK VELVET. In the middle is represented the Assumption of the Virgin; on the hood is a seated figure of the Almighty bearing FIG. 5.-COPE MORSE (GERMAN, 14TH CENTURY) IN THE FIG. 6.-COPE MORSE (GERMAN, EARLY 14TH CENTURY), |