A belt without a buckle, especially if a cord or rope, is called a girdle in various contexts, especially historical ones, where girdles were a very common part of everyday clothing from antiquity until perhaps the 15th century, especially for women. Most girdles were practical pieces of costume to hold other pieces in place, but some were loose and essentially for decoration. Among the elite these might include precious metals and jewels.
Today, girdles are part of Christian liturgical vestments, and the word is used in other contexts, such as American sports (for what is really a kind of underwear).
The girdle as an undergarment or abbreviated corset around the waist is a different, essentially 20th-century, concept, but from around 1895 there was a fashion for "girdles" as a separate section of a fashionable dress, worn just above the waist on top of the main dress. It was typically up to about eight inches high, and often terminated in a "V" shape. It might be the same colour as the main dress or not. It differs from the earlier Swiss waist of the mid-19th century by not having lacing or boning.
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Shoulder (Pectoral) Girdle - Muscles and Movements - Human Anatomy | Kenhub
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Clavicle and Scapula - Shoulder Girdle - Anatomy Tutorial
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Scapula and Clavicle - Shoulder Girdle - Anatomy Tutorial
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Clavicle and Scapula Anatomy: The Pectoral Girdle
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Muscles of the shoulder girdle (preview) - Human Anatomy | Kenhub
Transcription
Hello again, everyone! It’s Matt from Kenhub, and in this tutorial, we will discuss the muscles and movements of the shoulder girdle. The shoulder girdle consists of two bones: the scapula, and the clavicle (or the collar bone), and the muscles that attach to and move these bones. They are the rhomboids, trapezius, subclavius, pectoralis minor, and levator scapulae muscles. The rhomboid muscles are two diamond-shaped muscles of the shoulder girdle, both extend from the vertebral column to the medial border of the scapula. They lie over the autochthonous back muscles but under the trapezius. In this area, they are both palpable and often visible. The rhomboid muscles are divided into the rhomboid major and the rhomboid minor muscle. Usually, there is a small space between both rhomboid muscles. However, in some cases, one may find one, single blended muscle instead. Both major and minor rhomboids perform the same movement. Their contraction causes a craniomedial movement of the scapula, known as adduction and elevation. At the same time, the inferior angle of the scapula is moved towards the vertebral column, known as rotation. That movement mainly supports lowering of the elevated arm. Another function of the rhomboid musculature is the stabilization of the scapula during both rest and arm movement. The trapezius muscle is a triangular, flat muscle of the shoulder girdle and is divided into three parts: the descending or superior part, the transverse or middle part, and the ascending or inferior part. The trapezius has numerous tasks. It stabilizes and secures the shoulder blade at the thorax. It moves the shoulder blade medially and rotates it outward. In addition, the descending part causes elevation of the scapula, while the ascending part depresses this bone. The subclavius muscle is a short muscle of the shoulder girdle. Due to its location (lying behind the pectoralis major) and relatively small size, the muscle is hardly palpable. The main task of this muscle is the act of stabilization of the clavicle in the sternoclavicular joint during movements of the shoulder and arm. The pectoralis minor is a fan-shaped muscle of the shoulder girdle. It is located under the pectoralis major, and with that muscle forms the anterior wall of the axilla where the contracted muscle can be easily palpated. The pectoralis minor has two main functions. First, it pulls the scapula anteriorly and inferiorly towards the ribs, abduction and depression respectively. This leads to a dorsomedial movement of the inferior angle of the scapula. This movement is both helpful when retracting the elevated arm as well as moving the arm posteriorly behind the back. Second, the pectoralis minor elevates the third to fifth ribs, given a fixed scapula, and expands the rib cage. By those means, it can also serve as an accessory muscle during inspiration. The levator scapulae is a long muscle of the shoulder girdle. The upper part of this muscle lies under the splenius capitis and sternocleidomastoid muscles, and it’s lower part under the trapezius. Only the middle part of the levator scapulae remains uncovered in the lateral cervical region, and for that reason, the muscle can be most easily palpated in this area. As the name indicates, the main function of the levator scapulae is the elevation of the scapula. While elevating, it simultaneously pulls the entire scapula medially. This movement is helpful when bringing the elevated arm back to the neutral position. In addition, the muscle also moves the inferior angle away from the back, causing a small upward tilt of the scapula. If the scapula is fixed, a contraction of the levator scapulae leads to the bending of the cervical vertebral column to the side, known as lateral flexion. This video is more fun than reading a textbook, right? If you want more videos, interactive quizzes, articles, and an atlas of human anatomy, click on the “Take me to Kenhub” button. It is time to say goodbye to your old textbooks and say hello to your new anatomy learning partner, Kenhub! See you there! https://www.kenhub.com
History
The men among the Greeks and Romans wore the girdle upon the loins, and it served them to confine the tunic, and hold the purse, instead of pockets, which were unknown; girls and women wore it under the bosom. The Strophium, Taenia, or Mitra occurs in many figures. In the small bronze Pallas of the Villa Albani, and in figures on the Hamilton Vases, are three cordons with a knot, detached from two ends of the girdle, which is fixed under the bosom. This girdle forms under the breast a knot of ribbon, sometimes in the form of a rose, as occur on the two handsomest daughters of Niobe. Upon the youngest the ends of the girdle pass over the shoulders, and upon the back, as they do upon four Caryatides found at Monte Portio. This part of the dress the ancients called, at least in the time of Isidore, Succinctorium or Bracile.
The girdle was omitted by both sexes in mourning. Often when the tunic was very long, and would otherwise be entangled by the feet, it was drawn over the girdle in such a way as to conceal the latter entirely underneath its folds. It is not uncommon to see two girdles of different widths worn together, one very high up, the other very low down, so as to form between the two in the tunic, a puckered interval; but this fashion was mostly applied to short tunics. The tunic of the Greek males was almost always confined by a girdle.
Among the Anglo-Saxons, it was used by both sexes; by the men to confine their tunic, and support the sword. Some were richly embroidered, and of white leather. A leather strap was chiefly worn by monks.[1]
Vestment and iconography
Christian usage
As a Christian liturgical vestment, the girdle is a long, rope-like cord tied around the waist over the alb or cassock. The Parson's Handbook describes the girdle as being made "generally of white linen rope, and may have a tassel at each end. About 12 ft. 6 in. long is a very convenient size if it is used double, one end being then turned into a noose and the tasselled ends slipped through. The girdle, however, may be coloured."[2] They are used to close a cassock in Christian denominations, including the Anglican Communion, Catholic Church, Methodist Church and Lutheran Church.[3]
Christian monastics would often hang religious texts, such as the Bible or Breviary, from their girdles and these became known as girdle books. In addition, they would often knot the ends of the girdle thrice, in order to represent the "vows of poverty, chastity, and obedience."[4] As such, within the Christian Church, the girdle, in some contexts, represents chastity and within the Hebrew Bible, "Proverbs 31 provides biblical reference to the ancient practice of girdle making by virtuous chaste women".[5] In the New Testament, "Christ referred to the girdle as a symbol of preparation and readiness for service (Luke 12:35–38)":[4]
Be dressed ready for service and keep your lamps burning, like servants waiting for their master to return from a wedding banquet, so that when he comes and knocks they can immediately open the door for him. It will be good for those servants whose master finds them watching when he comes. Truly I tell you, he will dress himself to serve, will have them recline at the table and will come and wait on them. It will be good for those servants whose master finds them ready, even if he comes in the middle of the night or toward daybreak.
Saint Paul, in Ephesians 6:14 also references the term, stating "Stand therefore, first fastening round you the girdle of truth and putting on the breastplate of uprightness", further buttressing the concept of the girdle as a symbol of readiness.[6] Many Christian clergy, such as Anglican priests and Methodist ministers, use the following prayer when wearing the girdle:
Gird me, O Lord, with the girdle of purity, and quench in me the fire of concupiscence that the grace of temperance and chastity may abide in me.[4]
By the 8th century AD, the girdle became established as a liturgical vestment "in the strict sense of the word."[7] In 800 AD, the girdle began to be worn by Christian deacons in the Eastern Church.[8]
Although the general word "cincture" is sometimes used as a synonym for the girdle, liturgical manuals distinguish between the two, as the "girdle is a long cord or rope while the cincture is a wide sash. Generally an alb is closed with a girdle, an Anglican-style double-breasted cassock is closed with a cincture, and a Roman cassock is closed with either one."[3]
In the medieval and early modern period there are also accounts of girdles being used as a mnemonic. These would be tied or decorated with bead so that, like a rosary, each notch would remind the wearer of a particular psalm or book.[9] The girdle, in the 8th or 9th century, was said to resemble an ancient Levitical Jewish vestment, and in that era, was not visible.
The girdle, for men, symbolizes preparation and readiness to serve, and for women, represents chastity and protection;[4] it was also worn by laypersons in the Middle Ages, as attested in literature. For example, the hagiographical account of Saint George and the Dragon mentions the evildoer being tamed with the sign of the cross and a girdle handed to Saint George by a virgin.[10]
In Judaism
A gartel is a belt worn by Jewish males, predominantly (but not exclusively) Hasidim, during prayer. "Gartel" is Yiddish for "belt" and is cognate with the English word "girdle". Gartels are generally very modest in appearance. Most are black, but some gartels are white. Hasidic custom requires that there be a physical divide between the heart and the genitalia during any mention of God's name. It is commonly explained that separating the upper and lower parts of the body manifests a control of the animal instincts of the person by the distinctly human intellect.
Indian religions
In the Vajrayana iconography of the Hevajra Tantra, the 'girdle' (Tib.: ske rags), one of the 'Five Bone Ornaments' (aṣṭhiamudrā) symbolizes Amoghasiddhi and the 'accomplishing pristine awareness' (Kṛty-anuṣṭhāna-jñāna), one of the 'Five Wisdoms' (pañca-jñāna).[11] The iconography of the girdle (or bone apron and belt [12]) in Vajrayana iconography developed from one of the items of vestment adorning the Mahasiddha of the charnel grounds.
Beer (1999: p. 318) describes the bone girdle as the 'netted bone apron and belt' as vesture of the Dakinis and Heruka of the Cham Dance and Gar Dance of Tibetan Buddhism sacred ritual dance performances:
The bone ornaments worn in these ritual dances are exquisitely carved – especially the netted bone apron and belt, which are commonly adorned with intricately carved images of dakinis.[12]
Girdle in literature
In literature, girdles are often portrayed as magical, giving power and strength if worn by men, and protection if worn by women. Several scriptures in the Bible make use of the girdle as a symbol for readiness and preparation. Ishtar, a Babylonian goddess, wore a fertility girdle, which, when it was removed, rendered the universe barren. Hercules wrestled with the Amazon queen for her girdle in his Greek myth. Aphrodite, or Venus in Roman mythology, also wore girdles associated with lechery in later poetry.[13]
For men a girdle was often used to hold weapons. It also gave them freedom to move in a fight, unlike other types of clothing. Both of these are thought to carry the connection of power to the man's girdle in literature. For example, Odysseus wears a girdle which allows him to swim for three days straight, and a girdle worn by Thor doubles his strength.[13] Metal girdles were manufactured by girdlers.
Later, for women, the girdle became a sign of virginity, and was often considered to have magical properties. Monsters and all types of evil are recorded as being subdued by girdles in literature, a famous one being the dragon slain by Saint George. Marriage ceremonies continued this tradition of girdles symbolizing virginity by having the husband take the wife's girdle, and prostitutes were forbidden to wear them by law in historic France. Often in literature, women are portrayed as safe from sexual or other attack when wearing a girdle, but suddenly vulnerable if it is missing or stolen.[13]
Non-clothing uses in literature include Tolkien's "Girdle of Melian", a magical, protective "wall" surrounding an elven kingdom.
The 20th century women's girdle attracts various references in literature, often in a disparaging way. For example, Marilyn French in her classic book, The Women's Room, is very critical not only of the girdle itself, but also of the virtual compulsion to wear one, a compulsion which existed until the late 1960s. In John Masters's Bhowani Junction, once the mixed-race Victoria Jones decides to opt for an Indian rather than British persona, she rejects her girdle as a "western garment".
For information on the girdle as a modern undergarment, see Girdle (undergarment)
Sports
In American football, what is called a girdle is worn under the football player's pants to keep the hip, thigh, and tailbone pads in place, making the process of putting on the tight football pants easier. Older girdles resembled chaps, in that they covered only the front of the leg with pads, that snapped on. Modern girdles are essentially a tight pair of compression shorts with pockets for the pads. The girdle was also used in the Mesoamerican ballgame and is used in hockey (National Hockey League).
Some designs are made specifically for use in the sport of ringette.
See also
- Confraternities of the Cord
- Girdle of Thomas
- Girdle book
- List of animals referred to as girdled
- Kushti worn by Zoroastrians
- Himiana worn by Mandaeans
- Zone (vestment)
References
- ^ Rev. Thomas D. Fosbroke (1843). Encyclopaedia of Antiquities and Elements of Archaeology, Volume 2. London: M. A. Nattali. p. 942.
- ^ Dearmer, Percy (1907). The Parson's Handbook. Oxford University Press. p. 141. Retrieved 17 June 2015.
- ^ a b Moore, Stephen E. (1996). Church Words: Origins and Meanings. Forward Movement Publications. p. 53. ISBN 9780880281720.
Generally an alb is closed with a girdle, an Anglican-style double-breasted cassock is closed with a cincture, and a Roman cassock is closed with either one.
- ^ a b c d Moore, Stephen E. (1996). Church Words: Origins and Meanings. Forward Movement Publications. p. 54. ISBN 9780880281720.
Christ referred to the girdle as a symbol of preparation and readiness for service (Luke 12:35-38). St. Paul referred to it as a symbol of truth (Ephesians 6:14). The girdle of the monastic habit, knotted three times at the ends, symbolizes the three vows of poverty, chastity and obedience. The girdle became a Christian symbol of chastity, possibly derived from the ancient Jewish custom of women wearing ornate girdles symbolic of their virtue (Proverbs 31). Some traditional clergy still use an old vesting prayer when putting on the girdle which says, "Gird me, O Lord, with the girdle of purity, and quench in me the fire of concupiscence that the grace of temperance and chastity may abide in me."
- ^ Bershad, David; Mangone, Caroline (27 December 2011). The Christian Travelers Guide to Italy. Zondervan. ISBN 9780310315759.
- ^ Pink, Arthur W. (1 January 2013). Practical Christianity. Prisbrary. p. 281. ISBN 9788997762446.
- ^ Smith, Sir William; Cheetham, Samuel (1880). Dictionary of Christian Antiquitics. J.B. Burr Publishing Company. p. 728. Retrieved 17 June 2015.
It has been said that it was not till the 8th century that we meet with the girdle as an ecclesiastical vestment in the strict sense of the word.
- ^ Marriot, Wharton Booth (1868). Vestiarium Christianum; the Origin and Gradual Development of the Dress of Holy Ministry in the Church. Rivingtons. p. 213. Retrieved 17 June 2015.
Till, in the eighth or ninth century, the idea of an intended resemblance in detail between the Christian and Levitical vestments was first broached, the Girdle, naturally was either not worn at all (with the tunica talaris it was not necessary), or, when worn, was not visible, and was thought of only as a matter of convenience. In none of the early monuments of the West before A.D. 800, is any trace of it to be seen. But in the East we have mention of a Girdle as worn by deacons, early in the eighth century.
- ^ Hinde, William (1641). A faithfull remonstrance of the holy life and happy death of John Bruen. pp. 55–59.
- ^ Indick, William (18 May 2012). Ancient Symbology in Fantasy Literature: A Psychological Study. McFarland. p. 124. ISBN 9780786492336.
The hero uses the power of Christianity, the Sign of the Cross, to wound the dragon. Then, in an interesting twist, he calls to the virgin to toss her girdle round the dragon's neck. Upon being leashed by the virgin's girdle, the once impressible dragon is tamed. It follows the princess like a meek puppy-dog. St. George and the princess lead the dragon back to the village where it terrifies the townspeople. St. George promises to slay the beast, but only if the townspeople convert to Christianity, which they quickly do.
- ^ Kongtrul, Jamgön (author); (English translators: Guarisco, Elio; McLeod, Ingrid) (2005). The Treasury of Knowledge (shes bya kun la khyab pa'i mdzod). Book Six, Part Four: Systems of Buddhist Tantra, The Indestructibe Way of Secret Mantra. Bolder, Colorado, USA: Snow Lion Publications. ISBN 1-55939-210-X (alk.paper) p.493
- ^ a b Beer, Robert (1999). The Encyclopedia of Tibetan Symbols and Motifs. Shambhala. ISBN 1-57062-416-X. Source: [1] (accessed: December 28, 2008) p.318
- ^ a b c Friedman, Albert B., and Richard H. Osberg. "Gawain's Girdle as Traditional Symbol." The Journal of American Folklore 90.357 (1977): 301-15.
External links
Media related to Girdles at Wikimedia Commons
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This page was last edited on 11 February 2024, at 15:53