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A similar contrapposto stance, twisted upper torso, and a long contour-hugging veil characterize the sculpture. [15] In the mid-19th century, there was a resurgence in popularity of the veiled woman motif after the example of Corradini partially due to the image of a veiled woman becoming an allegory for Italian unification. [16]
6 For if a woman will not veil herself, then she should cut off her hair; but if it is disgraceful for a woman to be shorn or shaven, let her wear a veil. 7 For a man ought not to cover his head, since he is the image and glory of God; but woman is the glory of man.
The fringed veil drapes over her face, head and shoulder, and dangled unevenly above her feet. Her translucent attire further highlights the contour of her body. The illusion of a diaphanous veil and clinging dress created by the craftsmanship of Benzoni are the most noteworthy and skillful aspects of the sculpture.
One scene shows her in the house's sculpture gallery. The first sculpture shown is the Veiled Vestal, with the camera focusing on the figure's face whilst panning around it. It then cuts to show a wider view with Elizabeth closely regarding the figure's face while the camera pans around the rear of the sculpture.
The face is veiled, and the figure and features are all seen. It is a perfect gem of art". It was then kept at the Bishop's Palace next to the Catholic Cathedral in St. John's until 1862, when Bishop Mullock presented it to Mother Mary Magdalene O'Shaughnessy, the Superior of the Presentation Convent.
In the Song dynasty, some scholar officials, such as Sima Guang, advocated that women should cover their faces when going out. [4] The weimao-style hat was revived in the 10th century when women started to wear mianyi (Chinese: 面衣; lit. 'veil or facial covering'), which was also known as gaitou (Chinese: 蓋頭; lit. 'head cover') by the common people. [3]
A honggaitou (Chinese: 紅蓋頭; pinyin: hónggàitou), also shortened to gaitou (Chinese: 蓋頭; pinyin: gàitou; lit. 'head cover') [1] and referred to as red veil in English, [2]: 37 is a traditional red-coloured bridal veil worn by the Han Chinese brides to cover their faces on their wedding ceremony before their wedding night.
The Salafi scholar Muhammad Nasiruddin al-Albani wrote a book expounding his view that the face veil is not a binding obligation upon Muslim women, while he was a teacher at Islamic University of Madinah. His opponents within the Saudi establishment ensured that his contract with the university was allowed to lapse without renewal.