Which vestments were worn, and how they were arranged tell us quite a bit about the position of the wearer within the Church hierarchy. The dalmatic is a shin-length tunic. It is the principal vestment worn by deacons, but is also worn underneath the chasuble by priests, bishops and archbishops. The stole is a very long, narrow strip of cloth, often elaborately embroidered. A deacon would hang the stole from his left shoulder; both a bishop and priest would drape it across the back of his neck with it falling in front from both shoulders; a priest would cross the stole at his breast and it would be held in place with a girdle; both a bishop and archbishop would wear it uncrossed.
In all cases it would be worn under the dalmatic or chasuble and would extend to just above the ankle. The chasuble is a poncho-like over-garment and is the principal vestment worn by a priest, bishop or archbishop in celebration of the Mass. The cope is a semi-circular cloak worn over the shoulders and fastened across the chest by a strip of material. Strictly speaking it is a processional vestment and not worn in celebration of the Mass. An orphrey is a decorative band, often embroidered, applied to dalmatics, chasubles and copes.
Orphreys were applied in a variety of patterns, including Y shapes, straight pillars, and cross forms. The mitre is a cap with two points, often elaborately decorated and worn by bishops, archbishops, and some abbots. From the back hang two narrow strips of material called lappets, which usually end in a fringe Met Bulletin There are three grades of mitre, designated according to the richness of the decorations: the mitre pretiosa , which is richly decorated and jeweled for use on great occasions; the mitre aurifrigiata, which was ornamented with gold orphreys; and the mitre simplex, which was of plain white linen Houston The staff is another distinctive element used in ecclesiastical settings.
The cross-staff is carried by an archbishop and the crook is carried by a bishop Houston Rendering of Chasuble, Mitre and Stole of St. Chasuble of St. Sens, Treasury, C. Cathedral of Sens. Source: Dr.
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Genevra Kornbluth. Augustine Flemish. Scenes from the Life of St.
Augustine , late fifteenth century. Here the cloak is of voluminously draped silk, trimmed with gold embroidery and clasped in front by some type of ornamental closure. Underneath the cloak Henry wears a plain shirt, presumably for ease of removal for flogging, and what can only be called pants. The crown and cloak combination appears in other scenes such as when Henry receives the official surrender of the lands he has reclaimed in France Fig. In fig.
Both are belted and embellished at the neck opening with embroidery. Henry also routinely wears gauntlets in outdoor scenes such as these.
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Becket , In these scenes Henry and Becket wear belted, thigh-length tunics which are decorated at necklines cut to reveal the under-tunics, and traditional hose-like leg coverings. Unless they are performing the duties of their respective offices, Henry and Becket are always shown bare-headed. There are few scenes involving women in this film. In this same scene Figs. She also wears a veiled head-dress, but hers is based on the late medieval padded roll.
Elaborate scenes in cathedrals from England to France to Italy dominate the film and all orders of the Catholic Church are presented. We first see the Archbishop of Canterbury, whom Becket will later replace, during an audience with Henry, and with prelates, priests, and monks in attendance Figs. The pinnacle of Church pageantry is on display in the later scene in which Becket is consecrated as Archbishop of Canterbury Figs.
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In these two scenes the full range of ecclesiastical processional and ceremonial garments are shown starting with the jeweled and embroidered mitre, the velvet cope embellished with gold orphreys heavily ornamented with metallic gold thread embroidery known as opus anglicanum , and the velvet stole embroidered again with metallic gold thread and fringed at its ends, worn by the first Archbishop of Canterbury in figs.
In the consecration scene in figs. Also in this scene we see the Bishop of London wearing an embroidered and jeweled mitre and a red velvet chasuble trimmed with metallic gold embroidery and decorated with white orphreys heavily embellished with gold thread embroidery.
It is decorated with metallic gold thread and jeweled orphreys and worn over a cream silk dalmatic embellished with metallic gold thread embroidered crosses arranged in a diamond pattern and trimmed with gold braid and tassels. The jewels and precious, decorated ritual items of the Church are also on display in both of these scenes as well. We also see jeweled crosses around the necks of the bishops in attendance and on the staff belonging to the Archbishop.gatsbyestates.co.uk/el-canon-occidental-compactos-n.php
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In addition, in figs. M argaret Furse designed costumes for thirty-two feature films, ranging in date from to IMDB. Her parents were Punch magazine illustrator Arthur G. Watts, and Phyllis Gordon Watts. Margaret married Roger Furse, who worked primarily as an art director, in and worked as his assistant designer on the costumes for Henry V In particular, Great Expectations is acclaimed for its masterly evocation of a time and place and has since come to be viewed as the standard against which British historical melodramas are measured McFarlane.
Together with Glenville, producer Hal Wallis brought stature to the set of Becket , which was considered to be one of the most ambitious and expansive of its time. He received sixteen Academy Award producer nominations for Best Picture, winning for Casablanca in Thalberg Memorial Award. Allowing for some changes for dramatic effect, both Becket and the Anouilh play on which it is based hold true to the facts of the well-known history of Henry II and Thomas Becket.
The crowd scenes inside and outside of Canterbury Cathedral, as well as the use of medieval fine and decorative arts such as murals, sculpture, and textiles Figs. The hairstyles created under the direction of Joan Smallwood for Becket play only a small role in the overall production. Where they appear, as in fig.
Historical Accuracy The Men T he first ceremonial scene in Becket which is filmed with enough close-ups to be able to analyze the costumes occurs when Henry and Becket ride into the center of the city in France which they have just recaptured, by negotiation rather than by the sword, to accept the keys from the local bishop. The bliaud we see Henry wearing in fig.
In length, embellishment and as worn belted it bears a strong resemblance, however, to the garment in fig. Furthermore, the bliaud fabric shown is silk with gold embroidery, which would be accurate for the time and place.
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Although of what appears to be fine wool or velvet and embroidered about the collar, the outer garment Henry wears is unlined and too full to be considered a ceremonial mantle. In the previous scene this garment had been draped over the hindquarters of the horse on which Henry road into town and we could clearly see by its circular cut that it is a cloak. Additionally, you can order editing and proofreading.
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