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Sanctuary Vesture: A Brief Overview and Comparison

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Ancient Israelite temple ceremonial clothing

Ancient Israelite temple ceremonial clothing worn in the Mosaic Tabernacle, and succeeding Israelite temples of Solomon, Herod, et al.

I’m very pleased to welcome another guest post by Matthew B. Brown.  Some of his writings, particularly his book The Gate of Heaven, are what inspired me to study the temple more in depth.  He offers a wealth of insight and learning for the Latter-day Saints. ~Bryce

Matthew B. Brown holds a degree in history from Brigham Young University in Provo, Utah. He is the author of ten books and has published articles with the Neal A. Maxwell Institute for Religious Scholarship at BYU (aka FARMS). Matthew has served as a volunteer researcher, editor, and respondent for The Foundation for Apologetic Information and Research (FAIR) and has spoken at several of their annual conferences. He is one of the directors of the upcoming EXPOUND symposium on May 14, 2011, and will also be a presenter (expoundlds.com).

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It is publicly acknowledged that Latter-day Saints who participate in the central temple rites of their faith dress in several layers of ceremonial clothing, consisting of a “white undergarment” (which is worn as part of everyday life) and “other priestly robes” (which are only worn during times of temple service).1 [Read more…]

The Traditional Greek Folk Dances and their Ancient Roots

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San Joaquin Delta College Hellenic Dancers doing the Greek Syrtos dance at the school's new campus dedication in 1977. They wear the traditional Greek folk dance costume. A musician is playing a Thracian gaida in the center of the circle. Used by permission.

San Joaquin Delta College Hellenic Dancers doing the Greek Syrtos dance at the school's new campus dedication in 1977. They wear the traditional Greek folk dance costume. A musician is playing a Thracian gaida in the center of the circle, leading the dance. Used with permission.

When I originally wrote my paper on “The Genesis of the Round Dance,” I included a short section on the ancient Greek dance forms:

The ancient choruses, dances, and songs of the dithyramb of Greece displayed the familiar pattern of a dignified, circular dance around the altar of Dionysus in the theater’s orchestra. In fact, the term orchestra originally meant the circular dancing place of the theater. In addition, the terms carole and chorus, also originally Greek, meant a sacred ring dance, men and women holding each others hands [other related English words are chorale, choir, and choreography]. LDS scholar, Dr. Hugh Nibley, reminds us that the creation was often acted out in these Greek dance dramas:

The Greek play has a chorus. Well what does chorus mean? It’s a ring dance; it’s a circle. Same as our word curve; Latin: curvus; going around. The chorus sings, and the chorus of the muses sings the poiema, the creation song . . . When they sing together, it’s the poiema, the song of the creation. It’s a glorious thing. It’s a round dance like the Egyptian maypole.

Nibley takes it one step further to explain that all the arts originated from the ancient temple dramas. “So poetry, music, and dance,” he tells us, “go out to the world from the temple-called by the Greeks the Mouseion, the shrine of the Muses.” Again he states that, “All the arts and sciences began at the temple. Dance, music, architecture, sculpture, drama, and so forth-they all go back to the temple.” Kraus supports this claim of a ritualistic connection between the arts when he informs us that Native American ceremonies and sacred dances are “part of an elaborate drama which embraces all the arts.” ((http://templestudy.com/2008/02/01/the-genesis-of-the-round-dance-part-3/))

The more one learns about the arts, the more one is convinced of Nibley’s stunning summation.

I want to expand a bit more on the traditional Greek dance forms, and share some more interesting details I’ve learned about these ancient practices that still are continued today.  [Read more…]

16th Century Sculpture of the Marriage of Adam and Eve

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The Garden of Eden or Love by Guillielmus Paludanus. 1567. Musées Royaux des Beaux-Arts, Brussels.

The Garden of Eden or Love by Guillielmus Paludanus. 1567. Musées Royaux des Beaux-Arts, Brussels. (click image for a larger view)

Just a couple days ago I came across a sculpture that caught my attention.  Although unsigned and undated, it is widely believed that it was created by the Flemish sculptor and medallist Guillielmus Paludanus in 1567 as part of a chimney mantelpiece at his home in Antwerp, Belgium.  It is described as espousing the virtue of love:

In the centre of the elongated relief stands God the Father, dressed in a long robe, between Adam and Eve. He is blessing the naked human pair and placing their hands together. The scene takes place in the garden of Eden. . . This scene is a prefiguration of the sacrament of marriage. Not only the hieratic gesture of the God the Father, and Adam and Eve’s joined hands [known in antiquity as the dexiosis or dextrarum iunctio], but also the depiction of the paradise animals, two by two, refer to the God-willed lifelong community between husband and wife. (Web Gallery of Art)

I think this is a beautiful depiction of the first marriage, between Adam and Eve, as solemnized by God the Father.  It recalls the moment in the Garden when it was said, “Therefore shall a man leave his father and his mother, and shall cleave unto his wife: and they shall be one flesh” (Gen. 2:24; see also Gen. 3:12).

As it was in the beginning, so it continues today, that marriage is between a man and a woman.  It was divinely ordained so by God, for “neither is the man without the woman, neither the woman without the man, in the Lord” (1 Cor. 11:11).  It cannot be defined otherwise without serious repercussions on our society as a whole, and on our families and religious freedoms.  For that reason, I am in support of traditional marriage, particularly Proposition 8 in California (see my sidebar).  Watch apostles Elder Ballard and Elder Cook discuss the issue, or apostle Elder Bednar answer questions on the Proposition.  Hear people discuss their reasoning of support for the initiative.  Or check out the Church’s new website in support of Proposition 8 – PreservingMarriage.org.  Read the Church’s explanation for why this is important, and the First Presidency’s letter asking members to support this amendment in California.

Now is the time to make a difference by supporting marriage only between a man and a woman.  Vote yes on Proposition 8!  Visit ProtectMarriage.com for more information on how you can support this cause.

The Degree Ceremonies of Oxford University – Part 4

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After changing their gowns mid-ceremony the graduates enter and bow to the Vice-Chancellor and Proctors. Sheldonian Theatre, Oxford.

(Continued from Part 3)

Some more tidbits of information from Wells’ The Oxford Degree Ceremonies that might interest you:

  • The oath or charge to “observe the ‘statutes, privileges, customs and liberties’ of his university” and the accompanying affirmation “Do fidem” (“I swear”) are most likely over 700 years old, and initially were important to keep a unity among those who had subscribed to the university, and to keep out encroachments. ((Joseph Wells, The Oxford Degree Ceremonies, 19-20.))
  • The M.A.s are “exempt from Proctorial jurisdiction…” and “It is the M.A. who is admitted by the Vice-Chancellor to ‘begin’, i.e. to teach (ad incipiendum), when he is presented to him,” and many universities now call the end of the academic study “Commencement” because of this. ((ibid., 23.))
  • A degree is a “‘step’ by which the distinction of becoming a full member” of the university is acquired.  Wells notes Gibbon’s idea that “the use of academical degrees is visibly borrowed from the mechanic corporations, in which an apprentice, after serving his time, obtains a testimonial of his skill, and his license to practise his trade or mystery.” ((ibid., 24.))  [Read more…]

The Degree Ceremonies of Oxford University – Part 2

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Exterior, Sheldonian Theatre at Oxford University where most degree ceremonies take place - built 1664-1668

(Continued from Part 1)

Dr. Hugh Nibley’s opening remarks in his earthshaking address, “Leaders to Managers: The Fatal Shift,” given at the BYU commencement ceremony on August 19, 1983, would have fit even more perfectly in an Oxford setting. In refering to his statement in a commencement prayer he gave in 1960 in which he said, “We have met here today clothed in the black robes of a false priesthood,” he took this opportunity to explain:

Why a priesthood? Because these robes originally denoted those who had taken clerical orders; and a college was a “mystery,” with all the rites, secrets, oaths, degrees, tests, feasts, and solemnities that go with initiation into higher knowledge.

But why false? Because it is borrowed finery, coming down to us through a long line of unauthorized imitators. It was not until 1893 that “an intercollegiate commission was formed . . . to draft a uniform code for caps, gowns, and hoods” in the United States. Before that there were no rules. You could design your own; and that liberty goes as far back as these fixings can be traced. The late Roman emperors, as we learn from the infallible DuCange, marked each step in the decline of their power and glory by the addition of some new ornament to the resplendent vestments that proclaimed their sacred office and dominion. . . .  [Read more…]