In our online shop you can buy canopies and church canopy poles made in different fabrics (brocade canopies, polyester canopies, etc.) and with different religious embroideries.
Holy Week processional canopies can have different dimensions depending on the canopy float that is to be placed underneath.
In general, canopies usually have four, six and eight poles, but there are canopies with more poles.
If you would like to buy a customised canopy and want to know how much it costs, please get in touch with us and we will give you a no-obligation quote.
A processional canopy is a type of canopy, awning, or framework, generally rectangular in shape, used in religious processions, especially in Catholic liturgy. The word palio comes from the Latin term pallium, which means cloak or covering.
The origin of canopies is related to the need to protect sacred elements that went out in procession from inclement weather; that is, that left the churches to be shown to all the people. Nowadays it is still used to shelter the priest carrying the Blessed Sacrament or sacred images during the procession.
In addition, the canopy symbolises divine protection and highlights the importance of the sacred elements carried in procession.
During Holy Week, the canopy takes on special significance as it becomes part of the commemoration of the Passion, Death, and Resurrection of Jesus Christ. In many cases, the canopy pays tribute to the Virgin Mary in her various titles, underlining her spiritual presence along the penitential route.
Processional canopies are made from all kinds of fabrics: brocades, damask, etc. Holy Week canopies may be decorated with embroidered elements, prints, fringes, etc. Their decoration depends on the style of the canopy and the fabric from which it has been made.
When canopies go out in procession, whether during Holy Week, Corpus Christi or another liturgical celebration, they are carried by canopy poles, also known as processional poles or Holy Week poles.
Although there are variations, the basic anatomy is repeated with adjustments specific to each brotherhood. The poles are the essential load-bearing element, forming the vertical structure that supports the roof and stabilises the whole. Four main poles are often cited as the primary structural reference, completed by secondary poles depending on the design.
The roof or canopy is the upper covering, traditionally made in fabrics such as velvet or damask.
The valances are the side and rear hangings that frame the devotional scene and reinforce the solemn character of the canopy.
The floral adornment adds living decoration and complements the symbolic language of colour and iconography, with floral choices shaped by the season and local tradition.
Canopy poles are the rods or vertical supports that hold up the canopy roof.
They are pieces of religious, confraternal processional metalwork and are of great importance in liturgical and Holy Week celebrations. Their function is to distribute the weight of the roof, the ornamentation, and the elements of the ensemble among the bearers, avoiding concentrations of load.
The number of poles that support the weight of the canopy varies according to the characteristics of the canopy. Smaller canopies have only four poles, one at each of the canopy’s corners.
The larger the canopy, the greater the number of poles. In canopy floats—religious images that process under canopies—it is common to see canopies with up to twelve poles. In many confraternities and brotherhoods, the twelve poles are associated with the twelve Apostles through the ornamentation of the poles.
The central part of the pole is the shaft. It is the longest section of the processional poles. It can be completely smooth or have abundant repoussé decoration, chased work, … It is usually made up of several sections known as macollas.
The finial is the part that tops the pole in different shapes. They have an aesthetic but also functional role, since it is the part of the pole that directly supports the weight of the canopy.
The manufacture of canopy poles is a very broad field, as there is a wide variety of buyers. There are cheaper canopy poles, such as those made of wood with metal fittings for parishes with more modest budgets, but it is also possible to buy poles made of silver with ornamentation handcrafted by skilled silversmiths.
The best-selling poles are those made in metal with silver-coloured or gold-coloured finishes. They are simple but elegant metalwork pieces that suit all kinds of canopies.
The canopy roof, also called the canopy, is the upper cover that protects the image and defines the ensemble’s visual identity. Its shape is usually rectangular, and its dimensions vary considerably from one brotherhood or parish to another.
The roof rests on poles and is normally fixed in place to prevent movement.
Some designs may incorporate a slight slope to help water run off, although in practice many outings are cancelled if it rains.
The canopy valances are side hangings that hang from the structure.
The term is linked to the theatre, where valances frame the stage, and in the canopy they serve a similar function: to visually define the sacred space of the processional figure.
They are usually made with materials similar to the roofs, such as polyester, velvet, damask, or brocade. The colours of the fabric are usually related to the figures that process under the canopy.
The canopy floral adornment consists of natural flowers placed on the sides and corners, playing an important role in the float’s aesthetics and symbolism.
In Holy Week, as it is generally celebrated in spring, seasonal flowers are used, such as orange blossom, roses, carnations, and local varieties.
Arranging the floral adornment requires planning to create volumes and chromatic harmonies that respect the colour of the roof and the character of the title.
The floral decoration is complemented by the wax or candles of the Holy Week float. The wax is the set of candles that adorn the processional float. Candlelight is especially important in those processions that go out at night.
Seville is considered one of the cities where the canopy tradition reaches its greatest development. The presence of numerous brotherhoods and the textile, metalwork, and musical heritage associated with Holy Week consolidate its role as a benchmark.
The variety of styles and periods makes it possible to see everything from classically styled canopies to ensembles with contemporary renewals within the tradition.
The canopy of the Macarena is associated with one of Seville’s best-known Marian images: the Virgin of Hope of Macarena.
It is described as a classically styled canopy, with a palette in which crimson tones and gilded metalwork details may appear, depending on the configuration of the ensemble and the pieces that make it up.
Its outing is among the most followed in Seville’s Holy Week.
The canopy of Hope of Triana belongs to the Triana brotherhood and is recognised for its sobriety and the neighbourhood’s strong devotion.
The floral adornment usually occupies a prominent place within the ensemble, with choices that vary according to aesthetic and traditional criteria.
The procession forms part of one of the routes with the greatest popular participation.
The canopy of the Star is part of Seville’s confraternal heritage and is linked to a title with deep historical roots. The ensemble is seen as a representative example of the continuity of styles and the care of processional finery within the city’s calendar.
The canopy of Silence is associated with a particularly recollected context, marked by the austerity of the cortege. The absence or restraint of music in certain sections reinforces an atmosphere of contemplation. This distinctive character shapes how the canopy is perceived in the street and received by the public.
In Jerez de la Frontera, the canopy tradition retains its own distinctive features. Mention is made of sizeable canopies and configurations that reflect local schools of embroidery and metalwork.
The canopy of María Santísima del Desamparo is among the usual references within the city’s confraternal repertoire.
The canopies in Córdoba retain historical relevance and show different nuances within the Andalusian context.
Córdoban brotherhoods maintain the use of canopies as part of their devotional heritage, with aesthetic elements that may differ in proportions, ornamentation, and the pace of the cortege.
Processional canopies, within the Catholic Church, are liturgical ornaments traditionally associated with Holy Week processions, Corpus Christi processions, and processional floats (canopy floats or floats of Our Lady).
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