Word: veil
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Mason's performance, over and above his adept vaudeville bits, is faultless--a suave and perfectly controlled one, such as we often get from the best British actors and have usually got from Mason himself in his many movies from Seventh Veil through Julius Caesar to Cry Terror. He doesn't falter vocally for a moment, even when at the same time he has to give himself a complete shave with a straight razor or don a shirt with separate collar and French cuffs...
...handles even details--footmen, puddles, wheatfields--skillfully. He even wields symbols with wit, as in the scene in which the son, an ascetic would-be minister, finally renounces not the world for God but God for the world; the flimsy curtain into which the son is leaning suggests a veil, and the window's shadow on the wall behind him is just enough like a cross...
...grotesque thorns. The attendant figures sustain and even amplify the sense of total horror and shock. The figure of Mary Magdalene at the foot of the Cross is modeled on Griinewald's ideal of Nordic beauty, with wildly flowing silky blonde hair, sumptuous, rippling salmon-pink robe and veil. Griinewald has painted beauty moved to the ultimate of grief; Mary Magdalene's delicate features are a frozen mask of sorrow, her fingers writhe numbly, and even the sleeves of her elegant gown appear twisted and rigid...
...make peace with Nasser. To Feisal, Saud formally granted "full power to lay down the state's internal, external and financial policies." Feisal immediately took over control of the Saudi armed forces, fired the King's two top advisers on defense and the budget. Behind the ancient veil of the remote Arabian capital, change had finally overtaken the proud throne raised to conquest and splendor by the "Lion of the Desert," the late King Ibn Saud...
...hung over the main altar. Preliminary cleaning flaked away the overpainting, revealed a lovely eye, "long, sweet and melancholy." Shipped to Rome's Restoration Institute, the painting has been carefully worked over for the past seven months. The Madonna which emerged, with amaranth-red robe, gilt-edged blue veil and glittering gold medallion is judged by critics the finest Martini oil painting known. Nonagenarian Renaissance Critic Bernard Berenson, who once called Martini "the most lovable of all the Italian artists before the Renaissance," said of the discovery: "It is certainly a masterpiece. And there is not the slightest doubt...