A modern bishop’s attire and accoutrements, such as the crozier, pectoral cross and ring, are the traditional symbols of episcopal office.
The pectoral cross, made by Anna’s husband, James Greenwood-Lee, is constructed of Douglas fir and ebony. That combination of the BC wood (fir) and the Asian ebony mentioned in the book of Ezekiel speak to the depth and breadth of the Church around the world.
The ring is a gift from the people of St. Laurence Anglican Church, Calgary and was custom-made by a Calgary goldsmith. The design incorporates the cross from the Diocese of British Columbia’s coat of arms, as well as four dragonflies, the diocesan symbol of transformation and our logo. It is worn on the fourth finger of the right hand, the hand used for blessings.
A bishop’s garb is mostly dictated by tradition, but there is some room to customize the look. The red-violet cassock, her robe at the beginning of the ceremony, is a gift from Christ Church, Calgary, where Anna served as curate when she was first ordained. As part of the consecration, she dons a rochet (a billowy white robe) followed by a chimere (a long red vest), both gifts from the diocese.
Topping it all off is the cope, a cape whose fabrics and patterns are not prescribed but can be chosen to suit its wearer. The trick is to choose tones that are non-liturgical to make it wearable at any time. Leighton Lee, dean of Calgary, picked out the gold and blue cope and plain white mitre (hat), made by Watts and Company in London, a company known for its archive of church designs, spanning over 400 years of fabric history. Some patterns are still produced by a traditional mill in the English countryside. The mitre and cope were gifts from Bishop Anna’s parents, Paul and Winnifred Greenwood.
The bishop immigrated to Canada from the UK as a young child.
