text:
Ferrous
From Wikipedia, the free encyclopedia
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Ferrous oxide is more correctly called iron(II) oxide.
In chemistry, ferrous (Fe2+), indicates a divalent iron compound (+2 oxidation state), as opposed to ferric, which indicates a trivalent iron compound (+3 oxidation state).[1] This usage has mostly been deprecated, with current IUPAC nomenclature having names containing the oxidation state in bracketed Roman numerals instead, such as iron(II) oxide for ferrous oxide (FeO), and iron(III) oxide for ferric oxide (Fe2O3).
Pourbaix diagram of aqueous iron
Outside chemistry, ferrous indicates the presence of iron.[1] The word is derived from the Latin word ferrum ("iron").[2] Ferrous metals include steel and pig iron (with a carbon content of a few percent) and alloys of iron with other metals (such as stainless steel). Manipulation of atom-to-atom relationships between iron, carbon, and various alloying elements establishes the specific properties of ferrous metals.[3] Non-ferrous metals and alloys do not contain an appreciable amount of iron.[4]
See also[edit]
Ferromagnetism
Steelmaking
Ferrous metal recycling
Iron(II) oxide (ferrous oxide)
Iron(II) bromide (ferrous bromide)
References[edit]
Look up ferrous or nonferrous in Wiktionary, the free dictionary.
^ Jump up to: a b Ferrous, Merriam-Webster, retrieved 19 April 2008 .
Jump up ^ Etymology (Meaning of Words), 30 November 2007, retrieved 19 April 2008 .
Jump up ^ "Ferrous Alloys Properties". All Metals & Forge Group. Retrieved 1 October 2013.
Jump up ^ Non ferrous, Merriam-Webster, retrieved 19 April 2008 .

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Bone Symphony
From Wikipedia, the free encyclopedia
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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2017) (Learn how and when to remove this template message)
Bone Symphony
Origin
Los Angeles, California, U.S.[1]
Genres
Synthpop, new wave
Years active
1982–1984
Labels
Capitol
Past members
Scott Wilk
Marc Levinthal
Jacob Magnusson
Bone Symphony were a short-lived synthpop / new wave active in the early 1980s. The group consisted of Scott Wilk on lead vocals and synthesizer, Marc Levinthal (guitar, bass synthesizer and sequencer, drum machine, 808 programming) and keyboard artist Jacob Magnusson. All band members played synthesizer keyboards. They were signed to Capitol Records and released only one record, Bone Symphony EP, in 1983.
They are most famous for their song "One Foot in Front of the Other" which appeared in the film Revenge of the Nerds, an episode of Family Guy, and the film Ted 2.
Contents
1 Comparisons
2 Outside projects
3 Band members
4 Discography
4.1 Singles
5 References
6 External links
Comparisons[edit]
"L.A.-based Bone Symphony takes a more conventional approach, landing somewhere between Orchestral Manoeuvers In The Dark and Real Life, and almost directly on top of Heaven 17." "The name Bone Symphony is intended to 'combine visceral aspects with intellectual ones,' and musically, that's what they succeed in doing about half the time...".[2]
Outside projects[edit]
Outside of Bone Symphony, Wilk found a career as a composer for film and television, spanning three decades. Beginning in 1982, for an episode of CBS Afternoon Playhouse. He and Levinthal also wrote the score for the film Valley Girl, which featured Nicolas Cage in his first starring role.
Band members[edit]
Scott Wilk - lead vocals, synthesizer
Marc Levinthal - guitar, bass synthesizer and sequencer, drum machine, Roland TR-808
Jacob Magnusson - keyboard
Discography[edit]
Bone Symphony EP (1983)
Singles[edit]
Year
Song
US
Main
Album
1983 "It's A Jungle Out There" -- Bone Symphony EP
1984 "One Foot In Front of the Other" -- Revenge Of The Nerds - Original Motion Picture Soundtrack
Soundtrack appearances
Revenge of the Nerds - "One Foot In Front of the Other"
Family Guy (Don't Make Me Over) - "One Foot In Front of the Other"
Ted 2 - "One Foot In Front of the Other"
References[edit]
Jump up ^ Missett, Bill (November 6, 1983). "Records | Stevens Shows Class With Latest Release". Logansport Pharos-Tribune. p. 24. Retrieved March 19, 2018 – via Newspapers.com.
Jump up ^ "Review of Bone Symphony". The Morning Call. Allentown, Pennsylvania. May 19, 1984. p. 90. Retrieved March 19, 2018 – via Newspapers.com.
External links[edit]
Bone Symphony discography at Discogs
Authority control
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Singin' in the Rain
From Wikipedia, the free encyclopedia
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This article is about the 1952 film. For the 1929 song sung in this film, see Singin' in the Rain (song). For the stage musical, see Singin' in the Rain (musical).
Singin' in the Rain
Theatrical release poster
Directed by
Gene Kelly
Stanley Donen
Produced by
Arthur Freed
Screenplay by
Betty Comden
Adolph Green
Story by
Betty Comden
Adolph Green
Starring
Gene Kelly
Donald O'Connor
Debbie Reynolds
Music by
Lennie Hayton (original score)[1]
Songs:
Nacio Herb Brown (music)
Arthur Freed (lyrics)
Cinematography
Harold Rosson
Edited by
Adrienne Fazan
Production
company
Metro-Goldwyn-Mayer
Distributed by
Loew's Inc.
Release date
March 27, 1952 (1952-03-27) (Radio City Music Hall)
April 11, 1952 (1952-04-11) (United States)
Running time
103 minutes
Country
United States
Language
English
Budget
$2.5 million[2]
Box office
$12.4 million[2]
Singin' in the Rain is a 1952 American musical-romantic comedy film directed and choreographed by Gene Kelly and Stanley Donen, starring Kelly, Donald O'Connor, and Debbie Reynolds. It offers a lighthearted depiction of Hollywood in the late 1920s, with the three stars portraying performers caught up in the transition from silent films to "talkies".
The film was only a modest hit when first released. Donald O'Connor won the Golden Globe Award for Best Actor – Motion Picture Musical or Comedy, and Betty Comden and Adolph Green won the Writers Guild of America Award for their screenplay, while Jean Hagen was nominated for the Academy Award for Best Supporting Actress. But it has since been accorded legendary status by contemporary critics, and is frequently regarded as the best movie musical ever made,[3] and the best film ever made in the "Freed Unit" at Metro-Goldwyn-Mayer. It topped the AFI's Greatest Movie Musicals list and is ranked as the fifth-greatest American motion picture of all time in its updated list of the greatest American films in 2007. In 1989, the United States Library of Congress selected the film for preservation in the National Film Registry. In Sight & Sound magazine's 2017 list of the 50 greatest films of all time, Singin' in the Rain placed 20th.[4].
Contents
[hide]
1 Plot
2 Cast
3 Songs
4 Production
4.1 Revisions from early drafts
4.2 Scenes filmed but cut before release
4.3 Other notes
5 Reception
5.1 Critical response
6 Awards and honors
7 Home media
8 Adaptations
9 In popular culture
10 See also
11 References
12 External links
Plot[edit]
Don Lockwood (Gene Kelly) is a popular silent film star with humble roots as a singer, dancer, and stuntman. Don barely tolerates his vain, cunning, and shallow leading lady, Lina Lamont (Jean Hagen), though their studio, Monumental Pictures, links them romantically to increase their popularity. Lina is convinced they are in love, despite Don's protestations otherwise.
At the premiere of his newest film, The Royal Rascal, Don tells the gathered crowd an exaggerated version of his life story, including his motto: "Dignity, always dignity." His words are humorously contradicted by flashbacks showing him alongside his best friend Cosmo Brown (Donald O'Connor). To escape from his fans after the premiere, Don jumps into a passing car driven by Kathy Selden (Debbie Reynolds). She drops him off, but not before claiming to be a stage actress and sneering at his "undignified" accomplishments as a movie star.
Later, at a party, the head of Don's studio, R.F. Simpson (Millard Mitchell), shows a short demonstration of a talking picture,[a] but his guests are unimpressed. To Don's amusement, Kathy pops out of a mock cake right in front of him, revealing herself to be a chorus girl. Furious at Don's teasing, she throws a real cake at him, only to hit Lina right in the face. She runs away. Don is smitten with Kathy and searches for her for weeks. While filming a love scene, Lina tells him that she had Kathy fired. Don finally finds Kathy working in another Monumental Pictures production. She confesses to having been a fan of his all along.
After a rival studio has an enormous hit with its first talking picture, the 1927 film The Jazz Singer, R.F. decides he has no choice but to convert the next Lockwood and Lamont film, The Duelling Cavalier, into a talkie. The production is beset with difficulties, including Lina's grating voice and strong New York accent. An exasperated diction coach tries to teach her how to speak properly, but to no avail. The Duelling Cavalier's test screening is a disaster; the actors are barely audible thanks to the awkward placing of the microphones, Don repeats the line "I love you" to Lina over and over, to the audience's derisive laughter,[b] and in the middle of the film, the sound goes out of synchronization, with hilarious results as Don's voice is heard while Lina is speaking and vice versa.
Don, Kathy and Cosmo come up with the idea to turn The Duelling Cavalier into a musical called The Dancing Cavalier, complete with a modern musical number called "Broadway Melody". Cosmo, inspired by a scene in The Duelling Cavalier where Lina's voice was out of sync, suggests that they dub Lina's voice with Kathy's. R.F. approves the idea but tells them not to inform Lina about the dubbing. When Lina finds out, she is infuriated. She becomes even angrier when she discovers that R.F. intends to give Kathy a screen credit and a big publicity buildup afterward. Lina threatens to sue R.F. unless he orders Kathy to continue working uncredited as Lina's voice. R.F. reluctantly agrees to her demands, as a clause in her contract states that she can sue whenever denied a role of her choosing.
The premiere of The Dancing Cavalier is a tremendous success. When the audience clamors for Lina to sing live, Don, Cosmo, and R.F. tell her to lip sync into the microphone while Kathy, hidden behind the curtain, sings into a second one. While Lina is "singing," Don, Cosmo and R.F. gleefully raise the curtain, revealing the fakery. Lina flees. A distressed Kathy tries to run away as well, but Don proudly announces to the audience that she's "the real star of the film." Later, Kathy and Don kiss in front of a billboard for their new film, Singin' in the Rain.
Cast[edit]
Gene Kelly as Don Lockwood. His performance in the song "Singin' in the Rain" is now considered to be iconic.[5]
Debbie Reynolds as Kathy Selden. Directors Gene Kelly and Stanley Donen insisted that Reynolds was always first in their minds for the role.[6] Although the film revolves around the idea that Kathy has to dub over for Lina's voice, in the scene where Kathy is dubbing a line of Lina's dialogue ("Our love will last 'til the stars turn cold"), Jean Hagen's normal voice is used.[7][8][9]
Donald O'Connor as Cosmo Brown, Don's lifelong pal, and vaudeville partner, who becomes the head of Monumental Pictures' music department.
Jean Hagen as Lina Lamont. Fresh off her role in The Asphalt Jungle, Hagen read for the part for producer Arthur Freed. She did a dead-on impression of Judy Holliday's Billie Dawn character from Born Yesterday, which won her the role.
Millard Mitchell as R.F. Simpson. The initials of the fictional head of Monumental Pictures are a reference to producer Arthur Freed. R.F. also uses one of Freed's favorite expressions when he says that he "cannot quite visualize it" and has to see it on film first, referring to the "Broadway Melody" sequence. This is a joke, since the audience has just seen it.
Cyd Charisse as the long-legged woman in the green sequined dress and Louise Brooks hair who vamps Gene Kelly in the "Broadway Melody" sequence.
Douglas Fowley as Roscoe Dexter, the director of Don and Lina's films.
Rita Moreno as Zelda Zanders, the "Zip Girl" and Lina's friend.
Uncredited
King Donovan as Rod, head of the publicity department at Monumental Pictures.
Judy Landon as Olga Mara, a silent screen vamp who attends the premiere of The Royal Rascal.
Madge Blake as Dora Bailey, a radio show host.
Kathleen Freeman as Phoebe Dinsmore, Lina's diction coach.
Bobby Watson as diction coach during the "Moses Supposes" number.
Jimmy Thompson as the singer of "Beautiful Girl".
Mae Clarke as the hairdresser who puts the finishing touches on Lina Lamont's hairdo.
Songs[edit]
Singin' in the Rain was originally conceived by MGM producer Arthur Freed, the head of the "Freed Unit" responsible for turning out MGM's lavish musicals, as a vehicle for his catalog of songs written with Nacio Herb Brown for previous MGM musical films of the 1929–39 period.[10] Screenwriters Betty Comden and Adolph Green wrote two entirely new songs, "Make 'Em Laugh" and "Moses Supposes", the latter with music director Roger Edens providing the music. (see below).[11]
All songs have lyrics by Freed and music by Brown unless otherwise indicated.[11] Some of the songs, such as "Broadway Rhythm," "Should I?," and most notably "Singin' in the Rain," have been featured in numerous films. The films listed below mark the first time each song was presented on screen.
"Fit as a Fiddle (And Ready for Love)" from College Coach (1933)[12] (music by Al Hoffman and Al Goodhart, lyrics by Freed)
"Temptation" (instrumental only) from Going Hollywood (1933)
"All I Do Is Dream of You" from Sadie McKee (1934)[11]
"Singin' in the Rain" from The Hollywood Revue of 1929 (1929)[11]
"Make 'Em Laugh," considered an original song, but bearing a striking resemblance to Cole Porter's "Be a Clown," used in another MGM Freed-produced musical, The Pirate (1948). Credited to Comden and Green.
"Beautiful Girl Montage" comprising "I've Got a Feelin' You're Foolin'" from Broadway Melody of 1936 (1935),[11] "The Wedding of the Painted Doll" from The Broadway Melody (1929),[11] "Should I?" from Lord Byron of Broadway (1930)[11] and "Beautiful Girl" from Stage Mother (1933)[11]
"You Were Meant for Me" from The Broadway Melody (1929)[11]
"You Are My Lucky Star" from Broadway Melody of 1936 (1935)[11]
"Moses Supposes" (music by Roger Edens, lyrics by Comden and Green)
"Good Morning" from Babes In Arms (1939)[11]
"Would You?" from San Francisco (1936)[11]
"Broadway Melody" composed of "The Broadway Melody" from The Broadway Melody (1929)[11] and "Broadway Rhythm" from Broadway Melody of 1936 (1935)[11] The music for the "Broadway Ballet" section is by Nacio Herb Brown.[1]
Production[edit]
Revisions from early drafts[edit]
Play media
Trailer
In an early draft of the script, the musical number "Singin' in the Rain" was to be sung by Reynolds, O'Connor, and Kelly, emerging from a restaurant after the flop preview of The Dueling Cavalier, to celebrate the idea of changing the film into a musical.[13]
Kelly singing "You Were Meant For Me" to Reynolds on an empty sound stage was not included in that draft. The number was originally conceived as Kelly singing a medley of other songs to her as they romped around various studio back lot sets.[14]
Rita Moreno was originally to have sung the lead in "I've Got a Feelin' You're Foolin'" with other showgirls, but this ended up as part of the "Beautiful Girl Montage" without her.[15]
Scenes filmed but cut before release[edit]
Gene Kelly sang a reprise of "All I Do is Dream of You" after the party at R.F. Simpson's house when Kelly chases after Reynolds. The song, ending in Kelly's bedroom, was cut from the release version after two previews, and the footage has been lost.[16]
Reynolds' solo rendition of "You Are My Lucky Star" (to a billboard showing an image of Lockwood) was cut after previews.[16] This number has survived and is included on the original soundtrack and DVD version of the film.[17]
In the steamy "Vamp Dance" segment of the "Broadway Melody Ballet" with Cyd Charisse and Gene Kelly, reviewers from both the Production Code and the Catholic Church's Legion of Decency objected to a brief, suggestive pose or movement between the dancers. Although there is no precise documentation of what or where it was, close examination of footage toward the end of the dance shows an abrupt cut when Charisse is wrapped around Kelly, indicating the probable location.[18]
Other notes[edit]
In the famous dance sequence in which Gene Kelly sings the title song while spinning an umbrella, splashing through puddles and getting soaked to the skin, Kelly was sick with a 103 °F (39 °C) fever.[19][20] The rain in the scene caused Kelly's wool suit to shrink during filming. A common myth is that Kelly managed to perform the entire song in one take, thanks to cameras placed at predetermined locations. However, this was not the case, as the filming of the sequence took place over 2–3 days.[21] Another myth is that the rain was mixed with milk in order for the drops to show up better on camera; but the desired visual effect was produced, albeit with difficulty, through backlighting.[22][23]
Debbie Reynolds was not a dancer when she made Singin' in the Rain; her background was as a gymnast.[17] Kelly apparently insulted her for her lack of dance experience, upsetting her. In a subsequent encounter when Fred Astaire was in the studio, he found Reynolds crying under a piano. Hearing what had happened, Astaire volunteered to help her with her dancing. Kelly later admitted that he had not been kind to Reynolds and was surprised that she was still willing to talk to him afterwards. After shooting the "Good Morning" routine, which had taken from 8:00 a.m. until 11:00 p.m. to shoot,[24] Reynolds' feet were bleeding.[17] Years later, she was quoted as saying that "Singin' in the Rain and childbirth were the two hardest things I ever had to do in my life."[25]
Donald O'Connor had to stay in bed in the hospital for several days after filming the "Make 'Em Laugh" sequence, due to his smoking up to four packs of cigarettes a day.[21][26]
Most of the costumes from this film were eventually acquired by Debbie Reynolds and held in her massive collection of original film costumes, sets, and props. Many of these items were sold at a 2011 auction in Hollywood. While most items were sold to private collectors, Donald O'Connor's green check "Fit As a Fiddle" suit and shoes were purchased by Costume World, Inc. They are now on permanent display at the Costume World Broadway Collection Museum in Pompano Beach, Florida.[citation needed]
Reception[edit]
According to MGM records, during the film's initial theatrical release, it made $3,263,000 in the US and Canada and $2,367,000 internationally, earning the studio a profit of $666,000.[27] It was the tenth highest-grossing movie of the year in the US and Canada.[28][29]
Critical response[edit]
On the review aggregator website Rotten Tomatoes, the film had a score of a perfect 100% "Certified fresh" approval rating based on 49 reviews with an average rating of 9.2/10, the website's critical consensus reads: "Clever, incisive, and funny, Singin' In The Rain is a masterpiece of the classical Hollywood musical."[30]
Awards and honors[edit]
For her role as Lina Lamont, Jean Hagen was nominated for the Academy Award for Best Supporting Actress. The film was also nominated for Best Original Music Score for Lennie Hayton.
Donald O'Connor won the Golden Globe Award for Best Actor in a Motion Picture – Musical or Comedy for his portrayal of Cosmo Brown.[31] Betty Comden and Adolph Green received the Writers Guild of America Award for Best Written American Musical.[32]
Singin' in the Rain has appeared twice on Sight & Sound's list of the ten best films of all time, in 1982 and 2002. Its position in 1982 was at number 4 on the critics list; on the 2002 critics' list, it was listed as number 10, and it tied for 19 on the directors' list.[33]
Review aggregate website Rotten Tomatoes reported that 100% of critics gave the film a positive review based on 49 reviews, with an average score of 9.2/10. The film is currently ranked as No. 14 on Rotten Tomatoes' list of best rated films.[34] Rotten Tomatoes summarizes the critical consensus as, "Clever, incisive, and funny, Singin' in the Rain is a masterpiece of the classical Hollywood musical."[35] In 2008, Singin' in the Rain was placed on Empire's 500 Greatest Movies of All Time List, ranking at #8, the highest ranked G-rated movie on the list.
In 1989, Singin' in the Rain was among the first 25 films chosen for the newly established National Film Registry for films that are deemed "culturally, historically or aesthetically significant" by the United States Library of Congress and selected for preservation.
The film is recognized by the American Film Institute in these lists:
1998: AFI's 100 Years...100 Movies – #10[36]
2000: AFI's 100 Years...100 Laughs – #16[37]
2002: AFI's 100 Years...100 Passions – #16[38]
2003: AFI's 100 Years...100 Heroes & Villains:
Lina Lamont – Nominated Villain[39]
2004: AFI's 100 Years...100 Songs:
"Singin' in the Rain" – #3[40]
"Make 'Em Laugh" – #49[41]
"Good Morning" – #72[42]
2005: AFI's 100 Years...100 Movie Quotes:
Lina Lamont: "What do they think I am, dumb or something? Why, I make more money than Calvin Coolidge! Put together!" – Nominated[43]
2006: AFI's Greatest Movie Musicals – #1[44]
2007: AFI's 100 Years...100 Movies (10th Anniversary Edition) – #5[45]
Home media[edit]
The 40th Anniversary Edition VHS version released in 1992 includes a documentary, the original trailer, and Reynolds' solo rendition of "You Are My Lucky Star," which had been cut from the final film.[46]
According to the audio commentary on the 2002 Special Edition DVD, the original negative was destroyed in a fire. Despite this, the film was digitally restored for its DVD release. A Blu-ray Ultimate Collector's Edition was released in July 2012.
Adaptations[edit]
Comic book adaptation
Eastern Color Movie Love #14 (April 1952)[47]
Stage adaptation
The Broadway musical Singin' in the Rain was adapted from the motion picture, and the plot of the stage version closely adheres to the original. Directed and choreographed by post-modern choreographer Twyla Tharp, the opening night cast starred Don Correia as Don Lockwood, Mary D'Arcy as Kathy Selden, Richard Fancy as Roscoe Dexter, Faye Grant as Lina Lamont, and Peter Slutsker as Cosmo Brown. The musical opened on July 2, 1985 at the Gershwin Theatre after 39 previews, and ran for 367 performances, closing on May 18, 1986.[48]
In popular culture[edit]
Kelly's hometown Pittsburgh Pirates games at PNC Park play the scene from the film during rain delays.[49]
"Singin' in the Rain" is sung mockingly by Alex DeLarge, played by Malcolm McDowell, in the rape scene in Stanley Kubrick's 1971 film A Clockwork Orange. The Gene Kelly version plays during the end credits.[50]
"Singin' in the Rain" is sung by Inspector Jacques Clouseau played by Peter Sellers as part of the extended version of the grocery scene from The Pink Panther Strikes Again in Blake Edwards 1982 film Trail of the Pink Panther.
1n the 1983 television special Paddington Goes to the Movies, the film is mentioned at some points and Paddington performs a version of Gene Kelly's famous dance from the 1952 film.
In the 1989 Woody Allen film Crimes and Misdemeanors, Cliff (Woody Allen) and Halley (Mia Farrow) watch Singin’ in the Rain at Cliff’s apartment. Cliff claims to watch the film “every few months to keep my spirits up.”
In their 1976 Christmas special, the British comedy act Morecambe and Wise parodied the "Singin' in the Rain" sequence.[51]
Gene Kelly's "Singin' in the Rain" sequence is one of the opening scenes of The Great Movie Ride at Disney's Hollywood Studios.[52] Kelly approved his Audio-Animatronics likeness prior to its delivery to Florida.[53]
The dance to the title song is parodied in the 2005 Broadway musical Spamalot in the dance break to "Always Look on the Bright Side of Life," complete with tap-dancing knights spinning bright yellow umbrellas around.[54]
The "Singin' in the Rain" sequence was featured in a 2005 Volkswagen Golf commercial, with Gene Kelly seen break-dancing in the street. Also featured was Mint Royale's version of the song accompanying the commercial.
Two songs from the film were featured in "The Substitute", a season 2 episode of the musical comedy television series Glee.
In the 2012 film Silver Linings Playbook, Jennifer Lawrence's character is inspired by a clip of Donald O'Connor and Gene Kelly dancing to "Moses Supposes" from Singin' in the Rain.
The 2013 anime short Gisoku no Moses features a young female ghost dancing with a pair of haunted dance shoes to the tune of "Moses Supposes."[55]
In the 2015 romantic drama film Brooklyn, Tony Fiorello (Emory Cohen) takes Eilis Lacey (Saoirse Ronan) out on a date to see the film. In the next scene, he emulates Gene Kelly's iconic swing on the lamppost.
The scene in which Gene Kelly sings "You Were Meant for Me" is featured in the 2015 Nancy Meyers film The Intern.
Singin' in the Rain is an inspiration for the 2016 musical film La La Land, directed by Damien Chazelle.[56]
The 2017 Eurovision entry of Italy, Occidentali's Karma, features the phrase "Communque vada panta rei, and Singing in the Rain".
The song "Good Morning" was featured in the Legends of Tomorrow Season 3 episode "Phone Home".[57]
See also[edit]
List of films considered the best
List of films with a 100% rating on Rotten Tomatoes, a film review aggregator website
List of films featuring fictional films
References[edit]
Informational notes
Jump up ^ This scene pays homage to the original 1921 DeForest Phonofilm demonstration, featuring DeForest explaining the system.
Jump up ^ This is a reference to a scene by John Gilbert in his first talkie.
Citations
^ Jump up to: a b Singin' in the Rain at the American Film Institute Catalog
^ Jump up to: a b "Singin' In The Rain (1952)".
Jump up ^ Haley Jr., Jack: That's Entertainment!, Frank Sinatra segments. Metro-Goldwyn-Mayer, 1974
Jump up ^ "The 50 Greatest Films of All Time | Sight & Sound". British Film Institute. Retrieved 2017-08-11.
Jump up ^ Betty Comden, Adolph Green (2002). The story Behind Singin' in the Rain: Now It Can be Told, reprint of the Singin' In the Rain screenplay introduction, originally published in 1972, included in the liner notes of the Music from the original motion picture soundtrack (deluxe edition) Singin' in the Rain double CD by Rhino Entertainment and Turner Classic Movies.
Jump up ^ Osborne, Robert. TCM commentary, "Singing in the Rain."
Jump up ^ Hess, Earl J. and Dabholkarm Pratibha A. (2009). Singin' in the Rain: The Making of an American Masterpiece. Lawrence, Kansas: University Press of Kansas, p. 145.
Jump up ^ Reynolds, Debbie & Columbia, David Patrick (1989). Debbie: My Life. Pocket Books. p. 97. ISBN 978-0671687922.
Jump up ^ Kermode, Mark (18 March 2007). "The 50 greatest film soundtracks: 11. Singin' In The Rain". The Observer. London. Retrieved 4 August 2015.
Jump up ^ George Feltenstein (2002). "Producer's Note," included in the liner notes of the "Music from the original motion picture soundtrack (deluxe edition) Singin' in the Rain" double CD by Rhino Entertainment and Turner Classic Movies
^ Jump up to: a b c d e f g h i j k l m n Track list in the liner notes of the "Music from the original motion picture soundtrack (deluxe edition) Singin' in the Rain" double CD by Rhino Entertainment and Turner Classic Movies.
Jump up ^ CineBooks' Motion Picture Guide review of the film included on the Microsoft Cinemania 1997 CD
Jump up ^ Hess, Earl J.; Dabholkar, Pratibha A. (2009). Singin’ in the Rain: The Making of an American Masterpiece. Lawrence, Kansas: University Press of Kansas. p. 124. ISBN 978-0-7006-1656-5.
Jump up ^ Hess, pp. 23-24
Jump up ^ Hess, p. 70
^ Jump up to: a b Hess, p. 173
^ Jump up to: a b c New 50th Anniversary Documentary What a Glorious Feeling, hosted by Debbie Reynolds on the film's DVD.
Jump up ^ Hess, pp. 180-181
Jump up ^ Sanburn, Josh (December 2, 2010). "Top Ten Movie Dance Scenes: A Wet, Soft Shoe in Singin' in the Rain". Time.
Jump up ^ "The Biography Channel". Retrieved 2008-06-03.
^ Jump up to: a b "Singin' in the Rain (1952) – Hollywood's Greatest Musical!". Key Light Enterprises. Archived from the original on 19 January 2012. Retrieved 15 January 2012.
Jump up ^ Bubbeo, Daniel (July 11, 2012). "Gene Kelly's widow Patricia chats about her late husband and 'Singin' in the Rain'". Newsday. Retrieved July 27, 2012.
Jump up ^ The Basics: Was There Really Milk in Singin’ in the Rain? notes: "Gene Kelly himself described what happened in several interviews, including American Film (1979): 'Shooting the title number was just terrible for the photographer Hal Rossen [sic]. He had to backlight all the rain and then he had to put frontlight on the performer. That was as tough a job as I’ve ever seen, because you can’t photograph in rain and see it.'"
Jump up ^ Reynolds, Debbie (2013). Unsinkable: A Memoir. HarperCollins Publishers. p. 207. ISBN 978-0-06-221365-5.
Jump up ^ Patrick Perry, "ON TOUR WITH DEBBIE REYNOLDS: Feisty and Fit Actress Speaks Out About An All-Too-Common Problem - Overactive Bladder", The Saturday Evening Post, January/February 2003.
Jump up ^ Mankiewicz, Ben (2017) "Intro to Singin' in the Rain 65th Anniversary Theatrical Release" Accessed: January 15, 2017
Jump up ^ The Eddie Mannix Ledger, Los Angeles: Margaret Herrick Library, Center for Motion Picture Study .
Jump up ^ "Singin' in the Rain - Box Office Data". The Numbers. Retrieved 14 November 2011.
Jump up ^ 'Top Box-Office Hits of 1952', Variety, January 7, 1953
Jump up ^ "Singin' In The Rain". Rotten Tomatoes. Retrieved 9 April 2017.
Jump up ^ [1]
Jump up ^ "wga awards". Wga.org. Archived from the original on 2006-10-01. Retrieved 2011-10-30.
Jump up ^ "Sight & Sound | Top Ten Poll 2002 - Critics' top ten films of all time". BFI. 2011-08-02. Archived from the original on 2011-10-28. Retrieved 2011-10-30.
Jump up ^ "Top 100 Movies Of All Time". Rotten Tomatoes. Retrieved July 24, 2017.
Jump up ^ "Singin' in the Rain". Rotten Tomatoes. Retrieved May 31, 2014.
Jump up ^ "AFI's 100 Years...100 Movies" (PDF). American Film Institute. Retrieved 2016-07-17.
Jump up ^ "AFI's 100 Years...100 Laughs" (PDF). American Film Institute. Retrieved 2016-07-17.
Jump up ^ "AFI's 100 Years...100 Passions" (PDF). American Film Institute. Retrieved 2016-07-17.
Jump up ^ "AFI's 100 Years...100 Heroes & Villains Nominees" (PDF). Retrieved 2016-07-17.
Jump up ^ "AFI's 100 Years...100 Songs" (PDF). American Film Institute. Retrieved 2016-07-17.
Jump up ^ "AFI's 100 Years...100 Songs" (PDF). American Film Institute. Retrieved 2016-07-17.
Jump up ^ "AFI's 100 Years...100 Songs" (PDF). American Film Institute. Retrieved 2016-07-17.
Jump up ^ "AFI's 100 Years...100 Movie Quotes Nominees" (PDF). Retrieved 2016-07-17.
Jump up ^ "AFI's Greatest Movie Musicals" (PDF). American Film Institute. Retrieved 2016-07-17.
Jump up ^ "AFI's 100 Years...100 Movies (10th Anniversary Edition)" (PDF). American Film Institute. Retrieved 2016-07-17.
Jump up ^ "VHS back cover". Amazon.com. Retrieved 2010-03-06.
Jump up ^ "Movie Love #14". Grand Comics Database.
Jump up ^ Singin' in the Rain on the Internet Broadway Database
Jump up ^ "On Stage: Kate Hepburn, Richard Rauh and old Nixon". Arts & Entertainment. PG Publishing Co., Inc. July 9, 2003. Retrieved February 1, 2016.
Jump up ^ MacDougal, Stuart Y. (2003) Stanley Kubrick's A Clockwork Orange Cambridge University Press. p.98 ISBN 9780521574884
Jump up ^ "The Morecambe and Wise Show" BBC Two
Jump up ^ "Great Movie Ride Singin' In the Rain" Studios Central
Jump up ^ Fleming, Brenda "9 Facts and Secrets about the Great Movie Ride at Disney's Hollywood Studios" DisDining
Jump up ^ "Spamalot: And now for something completely silly". Retrieved 29 December 2016.
Jump up ^ ""Gisoku no Moses", a delightful anime short inspired by Gene Kelly". Nerdwatch!. Retrieved 20 April 2016.
Jump up ^ Harris, Aisha (December 13, 2016). "La La Land's Many References to Classic Movies: A Guide". Slate. Retrieved May 13, 2017.
Jump up ^ "'Legends of Tomorrow' Recap With Spoilers: "Phone Home"". comicbook.com. Retrieved 2017-11-05.
Further reading
Comden, Betty; Green, Adolph (1986). Singin' in the Rain. New York: Lorrimer Publishing. ISBN 0-85647-116-X. OCLC 13125781.
Ebert, Roger (14 February 1999). "Reviews: Singin' in the Rain". RogerEbert.com. Retrieved 2016-02-14.
"FilmSite Review: Singin' in the Rain (1952)". Filmsite.org. AMC. Retrieved 2016-02-14.
Hess, Earl J.; Dabholkar, Pratibha A. (2009). Singin' in the Rain: The Making of an American Masterpiece. Lawrence: University Press of Kansas. ISBN 978-0-7006-1656-5. OCLC 291908067. Retrieved 2016-02-14.
Telek, Scott (11 November 2007). "Speaking vs. Dancing in the Rain". Cinema de Merde. Retrieved 2016-02-14.
Wollen, Peter (1992). Singin' in the Rain. London: BFI Publishing. ISBN 0-85170-351-8. OCLC 27108548.
External links[edit]
Wikimedia Commons has media related to Singin' in the Rain (film).
Wikiquote has quotations related to: Singin' in the Rain
Singin' in the Rain at the American Film Institute Catalog
Singin' in the Rain on IMDb
Singin' in the Rain at the TCM Movie Database
Singin' in the Rain at AllMovie
Singin' in the Rain at CinemaClassic (in French)
Singin' in the Rain at Rotten Tomatoes
Singin' in the Rain at Virtual History
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Articles and topics related to Singin' in the Rain
[show]
v
t
e
Films directed by Gene Kelly
On the Town (1949)
Singin' in the Rain (1952)
It's Always Fair Weather (1955)
Invitation to the Dance (1956)
The Happy Road (1957)
The Tunnel of Love (1958)
Gigot (1962)
A Guide for the Married Man (1967)
Hello, Dolly! (1969)
The Cheyenne Social Club (1970)
That's Entertainment, Part II (1976)
[show]
v
t
e
Films directed by Stanley Donen
On the Town (1949)
Royal Wedding (1951)
Love Is Better Than Ever (1952)
Singin' in the Rain (1952)
Fearless Fagan (1952)
Give a Girl a Break (1953)
Seven Brides for Seven Brothers (1954)
Deep in My Heart (1954)
It's Always Fair Weather (1955)
Funny Face (1957)
The Pajama Game (1957)
Kiss Them for Me (1957)
Indiscreet (1958)
Damn Yankees (1958)
Once More, with Feeling! (1960)
Surprise Package (1960)
The Grass Is Greener (1960)
Charade (1963)
Arabesque (1966)
Two for the Road (1967)
Bedazzled (1967)
Staircase (1969)
The Little Prince (1974)
Lucky Lady (1975)
Movie Movie (1978)
Saturn 3 (1980)
Blame It on Rio (1984)
Love Letters (1999)
[show]
v
t
e
Arthur Freed musical productions
As producer
Babes in Arms (1939)
Strike Up the Band (1940)
Little Nellie Kelly (1940)
Lady Be Good (1941)
Babes on Broadway (1941)
Panama Hattie (1942)
For Me and My Gal (1942)
Cabin in the Sky (1943)
DuBarry Was a Lady (1943)
Best Foot Forward (1943)
Girl Crazy (1943)
Meet Me in St. Louis (1944)
Yolanda and the Thief (1945)
The Harvey Girls (1946)
Ziegfeld Follies (1946)
Till the Clouds Roll By (1946)
Good News (1947)
Summer Holiday (1948)
The Pirate (1948)
Easter Parade (1948)
Words and Music (1948)
Take Me Out to the Ball Game (1949)
The Barkleys of Broadway (1949)
On the Town (1949)
Annie Get Your Gun (1950)
Pagan Love Song (1950)
Royal Wedding (1951)
Show Boat (1951)
An American in Paris (1951)
The Belle of New York (1952)
Singin' in the Rain (1952)
The Band Wagon (1953)
Brigadoon (1954)
It's Always Fair Weather (1955)
Kismet (1955)
Invitation to the Dance (1956)
Silk Stockings (1957)
Gigi (1958)
Bells Are Ringing (1960)
Uncredited
as producer
The Wizard of Oz (1939)
Meet the People (1944)
Non-musicals
The Clock (1945)
Any Number Can Play (1949)
Crisis (1950)
The Subterraneans (1960)
Light in the Piazza (1962)
[show]
v
t
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Cahiers du cinéma's Top Ten Films
All time
Citizen Kane
The Night of the Hunter
The Rules of the Game
Sunrise
L'Atalante
M
Singin' in the Rain
Vertigo
Children of Paradise
The Searchers
Yearly
By year
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v
t
e
BFI Sight & Sound Poll
1952
Bicycle Thieves
City Lights
The Gold Rush
Battleship Potemkin
Intolerance: Love's Struggle Throughout the Ages
Louisiana Story
Greed
Le Jour Se Lève
The Passion of Joan of Arc
Brief Encounter
The Rules of the Game
Le Million
1962
Citizen Kane
L'Avventura
The Rules of the Game
Greed
Ugetsu Monogatari
Battleship Potemkin
Bicycle Thieves
Ivan the Terrible
La Terra Trema
L'Atalante
1972
Citizen Kane
The Rules of the Game
Battleship Potemkin
8½
L'Avventura
Persona
The Passion of Joan of Arc
The General
The Magnificent Ambersons
Ugetsu Monogatari
Wild Strawberries
1982
Citizen Kane
The Rules of the Game
Seven Samurai
Singin' in the Rain
8½
Battleship Potemkin
L'Avventura
The Magnificent Ambersons
Vertigo
The General
The Searchers
1992
Critics’
Citizen Kane
The Rules of the Game
Tokyo Story
Vertigo
The Searchers
L'Atalante
The Passion of Joan of Arc
Pather Panchali
Battleship Potemkin
2001: A Space Odyssey
Directors’
Citizen Kane
8½
Raging Bull
La Strada
L'Atalante
The Godfather
Modern Times
Vertigo
The Godfather Part II
The Passion of Joan of Arc
Rashomon
Seven Samurai
2002
Critics’
Citizen Kane
Vertigo
The Rules of the Game
The Godfather
The Godfather Part II
Tokyo Story
2001: A Space Odyssey
Battleship Potemkin
Sunrise
8½
Singin' in the Rain
Directors’
Citizen Kane
The Godfather / The Godfather Part II
8½
Lawrence of Arabia
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
Bicycle Thieves
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2012
Critics’
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8½
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WorldCat Identities
VIAF: 316751644
LCCN: n97121772
GND: 4375976-2
Retrieved from "https://en.wikipedia.org/w/index.php?title=Singin%27_in_the_Rain&oldid=815897541"
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Church tabernacle
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For other uses of "tabernacle", see Tabernacle (disambiguation).
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The tabernacle at St Raphael's Cathedral in Dubuque, Iowa, placed on the old high altar of the cathedral (cf. General Instruction of the Roman Missal, 315, a)
A tabernacle is a fixed, locked box in which, in some Christian churches, the Eucharist is "reserved" (stored). A less obvious container for the same purpose, set into a wall, is called an aumbry.
Within Catholicism, Eastern Orthodoxy and in some congregations of Anglicanism and Lutheranism, a tabernacle is a box-like vessel for the exclusive reservation of the consecrated Eucharist. It is normally made of metal, stone or wood, is lockable and secured to its altar or adjacent wall to prevent the consecrated elements within from being removed without authorization. The "reserved Eucharist" is secured there for distribution at services, for availability to bring Holy Communion to the sick, and, especially in the Western Church, as the center of attention for meditation and prayer. The term "tabernacle" arose for this item as a reference to the Old Testament tabernacle which was the locus of God's presence among the Jewish people - hence, it was formerly required (and is still generally customary) that the tabernacle be covered with a tent-like veil or curtains across its door when the Eucharist is present within.
By way of metaphor, Catholics and Orthodox alike also refer to the Blessed Virgin Mary as the Tabernacle in their devotions (such as the Akathist Hymn or Catholic Litanies to Mary), as she carried within her the body of Christ in her role as Theotokos.
Contents
[hide]
1 History
2 Present norms
2.1 Catholic Church
2.2 Eastern Orthodox Church
2.2.1 Reserved sacrament
2.2.2 Communion for the Sick
2.2.3 Presanctified gifts
2.3 Anglican and Episcopalian Churches
3 References
4 Further reading
5 External links
History[edit]
The following historical information is found, for instance, in the article The casing of the Eucharist by the Secretary of the Congregation for the Clergy, Archbishop Mauro Piacenza, who also heads the Pontifical Commission for the Cultural Patrimony of the Catholic Church, in 30Days, No. 6 Year XXIII – June 2005.
In early Christianity, priests and or lay people commissioned by them took bread consecrated at their Eucharist to their homes, in order to give it to the sick and others unable to attend the celebration. But when the Edict of Milan ended persecution, and the early Church was allowed to practice its religion publicly, the Eucharist was no longer kept safeguarded in private Christian homes, but was reserved near the altars of churches.
The preferred containers, the original "tabernacles", then had the form of a (usually gold) dove within a (usually silver) tower. There is mention of a gift of these two vessels, both of gold and adorned with 250 white pearls, that the Emperor Constantine gave to Saint Peter’s Basilica in Rome, and of silver towers and golden doves given to particular churches by Pope Innocent I and Pope Hilarius.
The vessels were kept in a place called the "sacrarium" or "pastophorium" away from the central body of the church or were suspended by fine chains from the middle of the canopy (hence called a "ciborium" or bread store) above the altar of the church. Gian Lorenzo Bernini’s 29-metre-high Baroque baldacchino over the main altar in today’s Saint Peter’s Basilica is at present the best-known such structure. Later, simpler vessels replaced to some extent the dove and the tower.
By the thirteenth century, the Eucharist was most often kept in a highly embellished cabinet inserted into the wall to the right or left of the altar. The Altar lamp indicated the Presence of Christ. This was a means of following the decree of the 1215 Fourth Lateran Council requiring that the reserved sacrament be kept in a locked receptacle.
The ornate tabernacle in St Martin's church, Kortrijk, Belgium
In the late fourteenth century, special stone constructions for the Eucharistic bread began to be built, especially in northern Europe. In German and Netherlandish churches of the period, such structures can still be seen: tall towers, known in German as Sakramentshäuser, in Dutch as sacramentstorens, usually placed to the north of the altar and often reaching almost to the ceiling. They were in use until the mid-nineteenth century. As the presence of the sanctuary lamp in the adjacent picture shows, some have been returned to their traditional use.
German examples are found in the church of St Lawrence in Nuremberg (18.70 metres), the minster of Salem (16 metres), Saints Peter and Paul city church in Weil der Stadt (over 11 metres), the church of Our Lady in Lübeck (9.5 metres), and St Mary's Cathedral in Fürstenwalde upon Spree. Belgian churches with such sacrament towers include St Catherine's in Zuurbemde, St Martin's in Kortrijk, St Peter's and St James's in Leuven, St James's in Bruges and St Leonard's in Zoutleeuw.
In the early sixteenth century, Bishop Matteo Giberti ordered that, in his diocese of Verona, in Italy, the container case for the consecrated bread should be placed on an altar. The custom spread through northern Italy. Saint Charles Borromeo, who became Archbishop of Milan, Italy in 1560, had the Sacrament moved from the sacristy to an altar (not the main altar) of his cathedral. The edition of the Roman Missal revised and promulgated by Pope Pius V in 1570 (see Tridentine Mass) still did not envisage placing the tabernacle on an altar: it laid down instead that the altar card containing some of the principal prayers of the Mass should rest against a cross placed midway on the altar (Rubricae generales Missalis, XX - De Praeparatione Altaris, et Ornamentorum eius). However, in 1614 Pope Paul V imposed on the churches of his diocese of Rome the rule of putting the tabernacle on some altar. Reaction to Protestantism's denial of the reality and permanence of the Real Presence of Christ in the Eucharist then led to the spread of the placing of the tabernacle even on the high altar, so as to make it more evidently visible. Whether on the main altar of the church or in a special chapel, the tabernacle became more and more large and ornate, to the extent of dominating the altar.
Present norms[edit]
Catholic Church[edit]
Tabernacle at Cathédrale Saint Louis de Versailles
The Catholic Church holds the doctrine of transubstantiation, i.e. that Christ is "truly present, Body and Blood, Soul and Divinity," though under the appearance of bread or wine. This presence perdures after the consecration, so that even after Mass is concluded, the Eucharistic elements are still Christ's Body and Blood. A tabernacle serves as a secure place in which to store the Blessed Sacrament for carrying to the sick who cannot participate in Mass, or as a focus for the prayers of those who visit the church.
The renewal of the Roman-rite liturgy following the Second Vatican Council (see Mass of Paul VI) was to highlight the primacy of the Eucharistic celebration itself, more than just a means for providing the permanent Eucharistic presence. The altar, it was decided, should be "truly the centre to which the attention of the whole congregation of the faithful naturally turns".[1] Before Vatican II, Mass was often celebrated directly in front of the tabernacle. Today, most often, the altar for the celebration of Mass stands on its own, and the tabernacle is given its own, usually smaller, altar or it stands nearby on a pedestal or in its own separate chapel. This allows the faithful to focus on the celebration of the Eucharistic action during Mass, but preserves a dignity of place and fosters prayer and meditation outside of Mass by giving the tabernacle its own space.
Before the 1960s, some bye-altars in Catholic churches also housed a tabernacle, in addition to that of the high altar.
The same Instruction lays down that:
314. In accordance with the structure of each church and legitimate local customs, the Most Blessed Sacrament should be reserved in a tabernacle in a part of the church that is truly noble, prominent, readily visible, beautifully decorated, and suitable for prayer.
The one tabernacle should be immovable, be made of solid and inviolable material that is not transparent, and be locked in such a way that the danger of profanation is prevented to the greatest extent possible. Moreover, it is appropriate that, before it is put into liturgical use, it be blessed according to the rite described in the Roman Ritual.
315. It is more in keeping with the meaning of the sign that the tabernacle in which the Most Holy Eucharist is reserved not be on an altar on which Mass is celebrated. Consequently, it is preferable that the tabernacle be located, according to the judgment of the Diocesan Bishop,
a. either in the sanctuary, apart from the altar of celebration, in a form and place more appropriate, not excluding on an old altar no longer used for celebration;
b. or even in some chapel suitable for the faithful’s private adoration and prayer and which is organically connected to the church and readily visible to the Christian faithful.[2]
316. In accordance with traditional custom, near the tabernacle a special lamp, fuelled by oil or wax, should be kept alight to indicate and honor the presence of Christ.
Tabernacles have generally been made of metal (such as bronze or brass), or sometimes of heavy wood. They are traditionally lined in white cloth (often silk), and are always securely lockable and generally permanently affixed or bolted to their support. Some Tabernacles are veiled when the Eucharist is present in them. These veils are often of cloth and design similar to the priest's vestments (that is, to create a harmony of design), and are either white (the color of the Eucharist), gold (which may be substituted for white), or of violet, green or red depending on the liturgical color of the day or season.
Eastern Orthodox Church[edit]
Reserved sacrament[edit]
The altar at Golgotha in the Church of the Holy Sepulchre, Jerusalem. In the center is an Orthodox tabernacle.
In the Eastern Orthodox Church, the Holy Mysteries (reserved sacrament) are kept in a tabernacle (Greek: αρτοφοριον/artophorion) or ark (Slavonic: ковчег/kovchég) on the altar at all times. The tabernacle is normally wrought of gold, silver, or wood and elaborately decorated. It is often shaped like a miniature church building, and usually has a cross on the top of it. It may be opened using small doors, or a drawer that pulls out. Some churches keep the tabernacle under a glass dome to protect it (and the Holy Mysteries) from dust and changes in humidity.
The ark or church tabernacle for a Russian Orthodox church (Dormition Cathedral in the Moscow Kremlin)
The Orthodox do not have a concept of Eucharistic adoration as a devotion separated from the reception of Holy Communion. But the Holy Mysteries are treated with utmost respect, as they believe in the Real presence of the Body and Blood of Christ. The clergy must be vested whenever they handle the Holy Mysteries. During the Liturgy of the Presanctified Gifts (wherein Communion is received from the reserved Sacrament), when the consecrated Holy Mysteries are brought out during the Great Entrance, everyone makes a full prostration—even the chanters stop singing and prostrate themselves while the entrance is made in silence.
When Orthodox Christians receive Holy Communion, they always receive in both species: the Body and the Blood of Christ. This includes Communion taken to the sick. Therefore, both are reserved in the tabernacle. Every year on Holy Thursday, the reserved Mysteries are renewed. The priest will cut an extra Lamb (host) for that liturgy and after the consecration, just before the clergy receive communion, the priest will take the extra Lamb and carefully pour a little of the Blood of Christ over it. This Lamb will then be cut into very small portions, allowed to dry thoroughly, and be placed in the tabernacle. The deacon (or priest, if there is no deacon) will consume whatever remains of the previous year's reserved sacrament when he performs the ablutions.
Typically, a sanctuary lamp is kept burning in the Holy Place (sanctuary) when the Mysteries are reserved. This may be a separate lamp hanging from the ceiling, or it may be the top lamp of the seven-branch candlestick which sits either on top of the Holy Table or behind it.
Communion for the Sick[edit]
Small tabernacle for communion of the sick. At the top is a box for the Reserved Mysteries (Reserved Sacrament), at the bottom is a small chalice, in the back is a tiny communion spoon with a cross on the handle (Kiev-Pecherski Lavra)
A small receptacle called a pyx is used for taking communion to the sick. While designs may differ, this often consists of a metal case with a chain attached so it can be hung around the neck. Inside the case are several compartments. One compartment contains a small box with a tightly-fitting lid into which some of the reserved Holy Mysteries will be placed. There is also a place for a very small chalice, just enough to hold a small amount of wine and a particle of the reserved Mysteries. There will be a small bottle to hold ordinary wine (not consecrated) which is used to soften the particle before it is consumed, a small pair of tweezers with which the priest removes a particle of the Mysteries from the box to place it in the chalice without touching it, and finally a small communion spoon with which to administer Holy Communion. This sick call kit is normally kept on the Holy Table, or sometimes on the Table of Oblation.
Rather than using a kit like the one described above, a priest may use a small chalice with a tight-fitting lid. He pours a little wine into the chalice, places a particle of the reserved Mysteries in the wine, and attaches the lid. He will take the chalice and a communion spoon to administer Holy Communion to the sick.
Presanctified gifts[edit]
A smaller tabernacle, sometimes referred to as a pyx, is used during Great Lent. This tends to be a rectangular, gold-plated box, often with a cross on top, with a hinged lid. On Sundays during Great Lent, the priest will consecrate extra Lambs (in the same manner as on Holy Thursday), for use during the Presanctified Liturgy. These Lambs will be kept in the pyx on the Holy Table, or sometimes on the Prothesis (Table of Oblation).
Anglican and Episcopalian Churches[edit]
Many Anglican parishes use tabernacles, either fixed on the altar, placed behind or above it, or off to one side. As in Catholic churches, the presence of the reserved sacrament is indicated by a "presence lamp" – an oil or wax-based flame in a clear glass vessel placed close to the tabernacle. Normally, only ciboria and Blessed Sacrament are placed in the tabernacle, although it is not uncommon for the wine or consecrated oils to be placed there as well. When the tabernacle is vacant, it is common practice to leave it open so that the faithful will not inadvertently perform an act of devotion (such as bowing or genuflecting). Tabernacles are customarily lined with, if not constructed from, cedar wood, whose aromatic qualities discourage insect life.
E. J. Bicknell in A Theological Introduction to the Thirty-Nine Articles writes that "According to the first Prayer-Book of Edward VI the sick might be communicated with the reserved sacrament on the same day as a celebration in church."[3] Article XXVIII — Of the Lord's Supper in Anglicanism's 39 Articles and Article XVIII — Of the Lord's Supper in Methodism's Articles of Religion state that "The Sacrament of the Lord's Supper was not by Christ's ordinance reserved, carried about, lifted up, or worshiped."[4] The Rev. Jonathan A. Mitchican, founder of The Conciliar Anglican writes that this Article "does not explicitly ban these practices but does add a note of caution about them by pointing to the fact that none of them are biblical."[5] As such, the reserved sacrament was used by Anglican priests who held these views to administer communion to persons unable to attend church through illness. However, in 1885 the upper house of Convocation ruled against this practice, declaring "the practice of reservation is contrary to the wise and carefully revised Order of the Church of England".[6]
Among those Anglicans who identify as "Anglo-Catholics," the Protestant Reformation is often considered one episode in church history which no longer defines their faith as Anglicans. After the Oxford Movement, reservation became commonplace in large parts of the Anglican Communion, and some parishes also perform services of solemn benediction and/or other forms of Eucharistic adoration.
The Anglo-Catholic manual of rites and ceremonies Ritual Notes described tablernacles as generally made of wood (they could however be of gold, silver or even iron; if of iron this should be enclosed in gilt-wood, wrought metal or carved stone). If the material be metal there should be an inner lining of poplar or cedar wood and in any case a lining also of white silk or cloth of gold or silver. The tabernacle should be securely fixed to the altar or gradine, but away from the wall so that the conopaeum (a veil used to cover it when it contains the blessed sacrament) can completely surround it. The veil may be white or varying in liturgical colour. There may be a second tabernacle but not more in the same church but if so only one should be used at any time. A lamp should remain lit nearby when the tabernacle is in use.[7]
References[edit]
Jump up ^ General Instruction of the Roman Missal, §299
Jump up ^ General Instruction of the Roman Missal, §315.
Jump up ^ Bicknell, E. J. (1 January 2008). A Theological Introduction to the Thirty-Nine Articles of the Church of England, Third Edition. Wipf and Stock Publishers. p. 401. ISBN 9781556356827.
Jump up ^ "The Articles of Religion of the Methodist Church - The United Methodist Church". United Methodist Church. Retrieved 23 May 2015.
Jump up ^ Mitchican, Jonathan A. (22 July 2011). "Ask an Anglican: Eucharistic Adoration". The Conciliar Anglican. Retrieved 23 May 2015.
Jump up ^ Cutts, E. L. (1895) A Dictionary of the Church of England; 3rd ed. London: S. P. C. K.; p. 511
Jump up ^ Cairncross, Henry, et al., comps. (1935) Ritual Notes; 8th ed. London: W. Knott; pp. 3-4
"General Instruction of the Roman Missal 314-317". United States Conference of Catholic Bishops. Retrieved 13 April 2014.
Further reading[edit]
Freestone, W. H. (1917) The Sacrament Reserved. (Alcuin Club Collections; 21.)
King, Archdale A. & Pocknee, Cyril E. (1965). Eucharistic Reservation in the Western Church. New York: Sheed and Ward. ISBN 0-264-65074-3
Maffei, Edmond (1942) La réservation eucharistique jusqu'à la Renaissance. Brussels: Vromant
Raible, F. (1908) Der Tabernakel einst und jetzt: eine historische und liturgische Darstellung der Andacht zur aufbewahrten Eucharistie
Stone, Darwell (1917) The Reserved Sacrament (Handbooks of Catholic Faith and Practice.)
Timmermann, Achim (2009) Real Presence: Sacrament Houses and the Body of Christ, c. 1270–1600. Turnhout: Verlag Brepols Publishers NV ISBN 978-2-503-53012-3
External links[edit]
Wikimedia Commons has media related to Tabernacles.
Tabernacle article in the Catholic Encyclopedia at Newadvent.org
Tabernacle (liturgical) article in Orthodoxwiki.org
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