The two merge in one of the show's earliest pieces, the 1995 "Iron Heavens," a kind of altar screen pieced together from black oven pans, against which lean baseball bats, fire-scorched and covered with patchy tufts of cotton.
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The iconostasis (altar screen decorated with icons) comes from the church of the monastery of Saint John Vladimir in Elbasan.
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Location of Nigeria within Africa The Duein Fubara is a Nigerian Ancestral Altar Screen currently held in the Art Institute of Chicago.
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A reredos is an altar screen which holds multiple portraits of saints. They have both decorative and practical purposes: while luxurious, they have the effect of drawing an observer's eye towards the most important—but often blandest—feature of the church, the altar.
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New choir stalls were dedicated in 1908. They were designed by John Duke Coleridge and paid for by Miss Mary Dickinson in memory of her father, the late Rev. Frederick Binley Dickinson. The ancient altar screen had three vacant niches filled with sculptured scenes in 1934.
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There are several items of carving from the "Macclesfield School of Carving" within the church. The most notable is a fine Edwardian reredos altar screen. This was dis-assembled during a restoration programme by over enthusiastic conservators to return the look of the Church to its Georgian original.
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This church was renovated by Rev. Thomas Norton, CMS missionary in an Anglican church style for a confirmation service. The Lord's prayer is inscribed on its wooden altar screen. CSI All Saints' Church, Thrissur CSI All Saints' church Thrissur was dedicated on 1 November 1842 by CMS missionaries.
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Panteleimon, is shown here with a lancet in his right hand. This tile probably formed a frieze on a church wall or altar screen. The Walters Art Museum. The Eastern tradition concerning Pantaleon follows more or less the medieval Western hagiography, but lacks any mention of a visible apparition of Christ.
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Only four main icons were painted earlier, in 1746, and present the work of unknown Russian and Ukrainian masters. Other icons, including those in unusual places below the main ones, belong to the masters from Moshopolis. This "developed" altar screen has several horizontal zones. The first is a parapet one and unpainted.
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A few years later, in August 1976, the altarpiece was stolen. Fortunately, it was found a little more than a month later, packaged and ready to ship abroad. The mystery of who planned the crime still remains. The Helzer Klaus, or the hermitage chapel Legend shrouds the origin of this altar screen.
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The tower was demolished and rebuilt without a spire. The east end was remodelled by lowering the altar and removing the old altar screen. Various windows and arches were opened up and in one of them the tomb of John de Sheppey was discovered. Cottingham remained in charge for the next phase of restoration.
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The nave contains 16 rows of pews, split by a center aisle. There is a chancel and choir loft in the back (southwest side) of the nave. This chancel includes a wooden platform with a wooden altar, screen, four chairs, and lectern. A marble baptismal font and wooden pulpit are also in the chancel.
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Tradition says that the Lord leaned down from the crucifix and said; "Francis, go and repair my house." The altar screen, a reredos, was created for the 100th anniversary of the Cathedral in 1986. In the center is an 18th-century statue of St. Francis. He is surrounded by painted images of saints of the New World.
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Then however, following the example of the church of Hagia Sophia in Constantinople, churches began to surround their altars with a colonnade or templon which supported a decorated architrave beam along which a curtain could be drawn to veil the altar at specific points in the consecration of the Eucharist; and this altar screen, with widely spaced columns, subsequently became standard in the major churches of Rome. In Rome the ritual choir tended to be located west of the altar screen, and this choir area was also surrounded by cancelli, or low chancel screens. These arrangements still survive in the Roman basilicas of San Clemente and Santa Maria in Cosmedin, as well as St Mark's Basilica in Venice. In the Eastern Church, the templon and its associated curtains and decorations evolved into the modern iconostasis.
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Repairs to the church were carried out following Queen Elizabeth I's visit in 1573 (date and initials may be seen on exterior stonework). Funerary hatchment now hung in the ringing chamber Notable features of the church are the twin towers (a landmark for miles around), the Norman nave, the splendid 15th-century angel roof in the nave and fine north-aisle roof. The church is also remarkable for its high quality fittings such as the 1783 organ by James Davis Image - James Davis organ and 1810 chamber organ Image - Chamber organ (also by James Davis) and the splendid gilded reredos or altar screen,Image - altar screen one of the largest works of Sir Ninian Comper. This was dedicated in 1921 as a war memorial, though the gilding was not finished until 1934.
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The Sixth Commandment, as translated by the Book of Common Prayer (1549). The image is from the altar screen of the Temple Church near the Law Courts in London. Multiple translations exist of the fifth/sixth commandment; the Hebrew words (lo tirtzach) are variously translated as "thou shalt not kill" or "thou shalt not murder".Exodus 20:13 Multiple versions and languages.
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The church, dedicated to All Saints, dates from the 14th century with a tower containing a clock and five bells. They are the second heaviest peal of five bells in the world. It contains a Norman font and several stained-glass windows, also an altar screen and monuments of the Martines and Napiers. It is a grade I listed building.
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The font dates from the 12th century and is set on a hexagonal stem. In the south wall is a piscina and there are aumbries on each side of the altar. The pews, communion rail and altar screen date from the 19th century. The church contains an 18th-century Royal coat of arms, and on the walls are memorial plaques from the 18th and 19th centuries.
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Inside the church are galleries on three sides carried on slender Perpendicular piers. The plaster ceilings are vaulted. The altar, screen and pulpit date from 1921, the choir stalls and side screens date from 1937; all of these were designed by the Lancaster architects Austin and Paley. The stained glass in the east window dates from 1841 and is by D. Evans of Shrewsbury.
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The appearance of the earlier church is not known, and the extant one was erected on the same site in 1739. The throne icons on the altar screen were painted by Janko Halkozović in 1759, and the wall paintings are a 1910 work of Kosta Vanđelović. Mala Remeta Monastery was declared Monument of Culture of Exceptional Importance in 1990, and it is protected by Republic of Serbia.
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In the 15th century a large west window of nine main lights and a deep traced head was commissioned by John of Wheathampstead. The spire was reduced to a 'Hertfordshire spike', the roof pitch greatly reduced and battlements liberally added. Further new windows, at £50 each, were put in the transepts by Abbot Wallingford (also known as William of Wallingford), who also had a new high altar screen made.
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The frescoes are organized so as to follow the architectural features of the interior; various ornamental motifs are used to frame and demarcate the mural compositions. Scenes in the conch of the apse depict, in the upper and lower tiers, respectively, the Deesis and a group of church hierarchs flanked by two burning candelabra. The altar screen contains depictions of Sts. Cyricus and Julitta, Demetrius of Thessaloniki, and Stephen.
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The bid, by a company called Southdown Radio and supported by actress Judy Cornwell, was beaten by that of Southern Sound—predecessors of Southern FM. Since the Greek Orthodox community acquired the building, some interior alterations have been made, including the installation of a new altar screen. It has been licensed for worship in accordance with the Places of Worship Registration Act 1855 and has the registration number 79056.
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There was also an elaborate carved wood altar screen. Although the convent was demolished in 1972, the chapel`s interior was salvaged as the result of a public appeal to preserve its architectural beauty. The interior was reconstructed inside the National Gallery of Canada in Ottawa, a process that took four years. Its careful preservation gives visitors the impression that they are actually entering the chapel as it was before it was demolished.
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Altarpiece, Sankt Nicolai Kirke, Køge Lorentz Jørgensen (before 1644 - after 1681) was a Danish woodcarver. He was possibly trained by Hans Gudewerdt in Eckernförde. The two may well have worked together in 1643 on the altar screen for the north chapel in Halsted Priory Church on Lolland. His career then became intricately related to that of Christoffer Knudsen Urne (1594–1663) who was appointed lensman (vassal) at Tranekær on Langeland in 1642.
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The east end had trinity windows, a large wooden altar screen and a carved hexagonal pulpit, reached by stairs. There was elaborate carved wainscoting. A pavement of reddish brown and grey marble to the west of the altar rails was said to date from the original gothic church. Galleries stood over the north and south aisles, built at special request of the officers of Christ's Hospital as seating for the school's students.
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The interior is lit by two windows, one in the apse and the other above the entrance. The altar is separated from the hall by a stone altar screen, with three arched openings. The walls of the church are plain, without much architectural treatment; brackets are used to support arches on the longitudinal walls. The interior walls contain a number of scratched memorial graffiti, dating from the 11th to the 15th century.
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Theodore Stratelates. A fresco from Iprari. Architecturally unremarkable, the interior of the Iprari church preserves high-quality murals commissioned by the local community from the "royal painter" Tevdore in 1096, as reported by a Georgian inscription on the altar screen. This Tevdore is also known to have frescoed two other churches in Svaneti: the Lagurka church of Saints Cyricus and Julitta in 1112 and the Nakipari church of St. George in 1130.
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Inside the church is a Norman font and several stained-glass windows, also an altar screen and monuments of the Martines and Napiers. The 15th-century churchyard cross was restored in 1919 as a memorial to those who died in World War I. In 2011 fundraising was undertaken to raise the £60,000 needed to repair the roof. The parish is part of the Fosse Trinity benefice within the deanery of Shepton Mallet.
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Nevertheless, it was refurbished by Christopher Wren, who made extensive modifications to the interior, including the addition of an altar screen and the installation of the church's first organ. The church underwent a Victorian restoration in 1841 by Smirke and Burton, who decorated the walls and ceiling in high Victorian Gothic style in an attempt to return the church back to its supposed original appearance. Further restoration work was executed in 1862 by James Piers St Aubyn.
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The church has ten misericords dating from the building of the church in 1350, five showing the arms of Bishop John de Grandisson. The church interior also has two medieval carved stone green men. Other interesting features include the tombs of Otho de Grandisson and his wife, the altar screen, sedilia, and a wooden eagle given by Bishop Grandisson. The college was dissolved on 24 December 1545 and this church began serving the parish, under the management of governors.
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The Iconostasis (altar screen), the holy altar, the ciborium, the pontifical throne, the pulpit, mobile shrines adoring the left and the right of the church entrance and the canopy epitaph are now in the Byzantine museum of the church for safe keeping, these artifacts belonged to the original church from the 1700s. The woodcraft reassembled in the church are evidence of the early construction of the church. It is demonstrated in church archives. The wood has elaborate carvings and religious motifs.
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The Sixth Commandment, as translated by the Book of Common Prayer (1549). The image is from the altar screen of the Temple Church near the Law Courts in London. Thou shalt not kill (LXX; ), You shall not murder (Hebrew: ; ') or You shall not kill (KJV), is a moral imperative included as one of the Ten Commandments in the Torah (Exodus 20:13).Exodus 20:1–21, Deuteronomy 5:1–23, Ten Commandments, New Bible Dictionary, Second Edition, Tyndale House, 1982 pp.
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The church is steel- framed using projecting black-painted I-beams laid both horizontally and vertically. Glazed curtain walling encloses the whole entrance vestibule on the front of the church, which faces west on to the north–south London Road. Internally the a tall box with a central division formed by a full-height altar screen, the back of which can be seen through the fully glazed front elevation. There is also an entrance on the side of the building.
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St Catherine's Chapel, dedicated to Catherine of Alexandria, lies to the south of the old chancel adjoining the south transept. Dating from around 1320, it contains two recessed medieval tombs in the south wall, one of which contains a tomb slab decorated with a carved floriated cross. The 16th-century wall monuments commemorate Waterhouse family. The chapel was restored around 1900 and the alabaster reredos – a copy of high altar screen in Winchester Cathedral – and the stained glass windows date from this period.
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Stone altar screen below the east window There has been a church on the Chiswick site since at least 1181 in Norman times.Clegg, 1995. pp. 103–104 The church was formally visited and an inventory made at "the unusually early date of 1252":Phillimore 1897. p. 98. This first inventory lists "a good and sufficient missal sent there from the treasury of St Paul's"; two graduals; a badly bound tropary; an old lectionary; an anthem book; a psalter but not the expected manual.
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Directly above the statue is a large painting of Jesus from the mid-18th century which was found behind the altar screen during the 1955 renovations. At the top center is a 1745 painting of St. Michael attributed to Bernardo de Miera y Pacheco. Around these two paintings are four oval oil paintings on canvas, which are Mexican and date to the early 18th century. Clockwise from top left, they depict St. Teresa of Ávila, St. Gertrude, St. Louis, and St. Francis of Assisi.
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The Iconostasis (altar screen) and the holy altar are both wood carved and maybe over 300 years old. Details describing the Wood sculptures were made by the late Metropolitan Iakovos Kleomvrotou in his film Mytilene Sacra. ΔΟΥΜΟΥΖΗ, ΓΡΗΓΟΡΙΟΥ Α "Ο ΙΕΡΟΣ ΝΑΟΣ ΤΟΥ ΑΓΙΟΥ ΣΥΜΕΩΝ ΜΥΤΙΛΗΝΗΣ" FIRST EDITION 1991 ΜΥΤΙΛΗΝΗ In the current church there is an icon of Saint Simeon Stylites. In 1975 it was sent for cleaning to the official Byzantine Ancient Artifacts Division, under the existing painting was found another painting of Byzantine Art.
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The cherubikon was added as a troparion to the Divine Liturgy under Emperor Justin II (565 – 578) when a separation of the room where the gifts are prepared from the room where they are consecrated made it necessary that the Liturgy of the Faithful, from which those not baptised had been excluded, start with a procession.Brightman (1896, p. 532, n. 9). This procession is known as the Great Entrance, because the celebrants have to enter the choir by the altar screen, later replaced by the iconostasis.
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Behind the dividing wall (to the east) is a hall which can be used for various purposes; it flanked by shorter single-storey "wings" forming smaller spaces used for offices and similar. There is also a moveable screen dividing the hall and the church. The altar screen is "a solid volume of raw grey brick", and the side wings and rear parts of the building are of the same brickwork. The furnishings are plain and simple, of marble and steel, apart from a 19th- century pulpit.
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The main altar (Egyptian Arabic: ') screen is made of ebony inlaid with ivory that is carved into segments showing several Coptic Cross designs that date back to around the 12th or 13th century. Over the altar screen lies a long row of seven large icons, the central one of which is Christ seated on the throne. On one side, the icons of the Virgin Mary, Archangel Gabriel and St Peter are lined up. On the other, icons of St. John the Baptist, Archangel Michael and St. Paul.
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Otto I de Grandson, detail from his effigy in Lausanne Cathedral Othon de Grandson from an altar screen from the Cathedral in Lausanne now displayed in the Bern Historic Museum. Otto de Grandson (c. 1238–1328), sometimes numbered Otto I to distinguish him from later members of his family with the same name, was the most prominent of the Savoyard knights in the service of King Edward I of England, to whom he was the closest personal friend and many of whose interests he shared.
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From the golden opinions of his immediate successor in the abbacy, Thomas Ramridge, no less than from the simple entries in Wallingford's own register, it is clear that he was efficient and thoroughgoing, an excellent administrator, and a diligent defender of his abbey. He voluntarily paid 1,830 pounds of debts left by his predecessor. He built a noble altar-screen, long considered the finest piece of architecture in the abbey. Upon this he spent eleven hundred marks, and another thousand marks in finishing the chapter house.
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A vintage photo of the Tsebelda iconostasis, published in 1894. The Tsebelda iconostasis is an Early Medieval peace of Christian art from Abkhazia/Georgia, a limestone fragment of an altar screen from the 7th or 8th century, which were discovered near the village of Tsebelda in the 1880s. The two largest surviving fragments are on display at the Georgian National Museum in Tbilisi, with smaller pieces also kept at a museum in Sukhumi. Within a floral frame are depiction of the Crucifixion and the Resurrection.
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The twist-turned altar rails and the altar screen date from the 17th century. The removal of a pulpit to the left of the altar revealed inscriptions on the east wall, and further removal of whitewash revealed the Creed, the Lord's Prayer and the Ten Commandments, in Welsh. The inscription "Fear God and honour the King", together with scrollwork, can clearly be seen today, as can a skull and cross- bones! The Welsh version of the Lord's Prayer, on the sill, is hardly visible, after vandalism.
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In the Western Church, the cancelli screens of the ritual choir developed into the choir stalls and pulpitum screen of major cathedral and monastic churches; but the colonnaded altar screen was superseded from the 10th century onwards, when the practice developed of raising a canopy or baldacchino, carrying veiling curtains, over the altar itself. Many churches in Ireland and Scotland in the early Middle Ages were very small which may have served the same function as a rood screen. Contemporary sources suggest that the faithful may have remained outside the church for most of the mass; the priest would go outside for the first part of the mass including the reading of the gospel, and return inside the church, out of sight of the faithful, to consecrate the Eucharist. Churches built in England in the 7th and 8th centuries consciously copied Roman practices; remains indicating early cancelli screens have been found in the monastic churches of Jarrow and Monkwearmouth, while the churches of the monasteries of Brixworth, Reculver and St Pancras Canterbury have been found to have had arcaded colonnades corresponding to the Roman altar screen, and it may be presumed that these too were equipped with curtains.
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Garner continued to contribute to the firm's ecclesiastical work. He designed the altar screen in St Paul's Cathedral and several sepulchral monuments, including those of the Bishops of Ely, Lincoln, Winchester and Chichester, and that of Henry Parry Liddon. In 1889 he designed the decorated gothic case for the organ at Church of the Holy Trinity, Stratford-upon-Avon. Despite Bodley's distaste for business and trade, he and Garner also set up a fabric company with Gilbert Scott the younger in 1874, to provide embroidered and textile goods, wallpaper and stained glass.
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The Church of England parish church of St Mary the Virgin at Lower Seagry was founded in 1172 by Walter de Clifford, a descendant of the Fitz Ponz family. One of the 13th-century effigies in the church is said to be his. The church was rebuilt in 1849 on the same plan as the 12th or 13th century building by one of the architects in the Hakewill family, in squared rubble stone with a west bellcote. The 12th-century stone font bowl and 15th-century timber altar screen were retained.
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In the time after the year of 1440, after the church had been given to the Serbs, the harmonious and proportionate Gothic building ( with the chapels ) was, with minor interventions, turned into the Orthodox oratory. The eastern aisle, trigonously completed, was renovated and converted into the altar area of appropriate size. Without a doubt, the original iconostasis in the obtained church was a low altar screen with a small number of icons brought from Kovin in Banat. Today's iconostasis with a smaller number of icons dates from 1770.
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So far there has not been a credible explanation given for this double usage. This could be concluded by the presence of patron saints, (later added) to whom the other gates of the Imperial Palace had been dedicated: St. Theodore (The Western Gate), St Apollinaris (The Eastern Gate) and St. Julian (The Southern Gate). St. Martin (patron saint of soldiers), like St. Theodore, was venerated in the later Roman period, particularly in the West, during the rule of the Emperor Justinian (527-565). The altar screen divides the church into two parts.
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Comper designed its altar, altar screen, pulpit, lectern, dozens of statues, all its furnishings and appointments, and most notably the stained glass windows. The finest Gothic-revival style craftsmen were engaged for the project under the direction of Campbell & Aldrich of Boston. The chapel memorializes Leslie Lindsey and her husband of ten days Stewart Mason, who were married at Emmanuel Church and perished when the Lusitania was torpedoed in 1915. In 1966, the Back Bay historic district was established, protecting any building within its boundaries from exterior changes, including this building.
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A native of France, Lamy preferred European architectural styles over the local adobe vernacular and had the church remodeled with a pitched roof and steeple starting in 1881. On June 27, 1922, the steeple and roof were destroyed by a fire that also damaged the interior, though the altar screen survived. The church was then rebuilt in the Mission Revival style with curved parapets and a tiled roof. It was remodeled again in 1976–78 to bring it closer to the original appearance, though some of the Mission details remain in place.
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The village contains St. Mary's church, which sits atop of a mound in the centre of the village. The church dates back to Norman times and was renovated in the late 13th century. The church has an Anglo-Danish Norse cross on its roof and contains a glass altar screen of Leonardo da Vinci's painting of The Last Supper. The Village also contains a newly refurbished village hall, building work started on the village hall in January 2010, and was completed in March 2012, costing £580,000, much of which came from national lottery funding.
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The Duein Fubara is an ancestral or memorial altar screen, made in order to commemorate the leader of a trading house after his death. The title of “Duein Fubara” translates into English as “foreheads of the dead”, as the forehead is believed to hold a spiritual significance. The artwork exemplifies this, as the size of the main figure's head is greatly exaggerated, extending beyond the top of the frame. The materials used in the construction of the Duein Fubara are listed by the Art Institute of Chicago as “wood, pigment, fiber, and replacement fabric”.
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Arches and altar screen are a typical example of pre- Romanesque stone sculpture which is harmoniously decorated with the geometric Croatian interlace motifes and carved text. In 1965, the walls and vaults of the church were cracked, and both interior and exterior neglected, with thorns growing in the interior. Therefore, the head of a monastery of the Assumption of Mary from Poljud neighborhood in Split, fra Vjekoslav Bonifačić, asked the authorities to renovate the church, which they eventually did. On October 22, 1967, church become founding place of newly founded parish of the Holy Trinity.
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The Helzer Klaus altarpiece The carved altar screen now displayed in Hachiville's baroque parish church is considered one of Luxembourg's most precious art treasures. Originally housed in the hermitage chapel just outside the village, the piece, which appears to date from the sixteenth century, depicts scenes from the life and the passion of Christ. The hermitage chapel, Helzer Klaus, revered as a pilgrimage site in its own right, now contains a plaster copy of this original altarpiece. In 1973, Luxembourg issued a set of stamps depicting images of religious statues based on this altarpiece.
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The reredos, dated 1798 The wooden reredos or altar screen dates to 1798 and is said to be the work of an unnamed artisan known as the "Laguna Santero" who was active in New Mexico between 1796 and 1808. The screen is flanked by large Solomonic columns. A niche in the center of the reredos, with its own small pair of columns, contains a wooden statue of St. Michael the Archangel wielding a sword. The statue originated in Mexico in 1709 and has been in place at least since 1776, when it was mentioned in Domínguez' inventory of the church.
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10th-century gold and enamel Byzantine icon of St Michael, in the treasury The eastern arm has a raised presbytery with a crypt beneath. The presbytery is separated by an altar screen formed by eight red marble columns crowned with a high Crucifix and statues by Pier Paolo and Jacobello Dalle Masegne, masterpiece of Gothic sculpture (late 14th century). Behind the screen, marble banisters with Sansovino's bronze statues of the Evangelists and Paliari's of the Four Doctors mark the access to the high altar, which contains St Mark's relics. Above the high altar is a canopy ("ciborium") on columns decorated with fine reliefs.
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There is an carved Victorian altar screen at the east end of the church, and another in the west end behind the Victorian font, all in memory of former family members of the congregation as well as numerous memorial plaques and windows which trace the history of the principal families and benefactors of the church over the years. A carved panelled pulpit and a readers lectern sit either side of the chancel. The Victorian addition of the north transept has recently been refurbished to serve as a community area. The original Norman font of the church is displayed under the memorial window.
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A native of Vicenza, Salviati was a lawyer who became interested in glass work after participating in restorations being done on the mosaics of Saint Mark's Cathedral in Venice. He opened his first glass business in 1859 with Lorenzo Radi, and this firm produced the mosaic glass for the altar screen for the high altar of Westminster Abbey. In 1876, he left this business to establish a new firm which executed the mosaic decoration of the dome of Aachen Cathedral. The designs of this cathedral were based on the ideas of the Belgian architect Jean-Baptiste de Bethune.
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The game feature two taps which have to be placed on rare vertical bases. All of the items scattered throughout the game are needed to complete it, with the exception of the beaker which was originally meant to be filled with water to destroy fires or with acid (in the pool above the Pit room) to temporarily destroy any creature. However memory limitations meant that this feature was cut although the beaker remained. Placing a barrel on the base in the Altar screen, allowed the player to jump right onto the rope and climb up to a secret screen titled wer.
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Cristo Rey Church () is a Roman Catholic parish church on Canyon Road in Santa Fe, New Mexico. It is one of the most notable buildings designed by influential Santa Fe architect John Gaw Meem and is claimed by some sources to be the largest adobe building in the United States. It is also notable for its historic altar screen, the Reredos of Our Lady of Light, which is listed on the National Register of Historic Places. The reredos was carved in 1761 and originally hung in La Castrense, a military chapel on the Santa Fe Plaza.
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A section of the roof of the central aisle approximately long was destroyed, stretching from the lantern tower towards the east window, together with much of the internal woodwork from the organ screen to the altar screen, including the organ, medieval choir stalls, the bishop's throne, and the pulpit. The cause – arson – soon became apparent, and the culprit was identified from threatening placards Martin had left on the Minster railings in previous days, including his initials and address. Martin was captured near Hexham on 6 February. He was tried at York Castle in March 1829, before Baron Hullock and a jury.
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He was also a painter and carver. Some of his works survive in churches and museums; the Church of Cristo Rey in Santa Fe has "his masterpiece, the Castrense altar screen". In 1754 or 1756, he moved his family to Santa Fe. He was appointed alcalde of the pueblos of Pecos and Galisteo and participated in three campaigns against the Comanches. Map of New Mexico, 1760, drawn by Miera y Pacheco to Marín del Valle When the Viceroy of New Spain ordered that his northern governors produce maps of their territories, Francisco Antonio Marín del Valle, Governor and Captain General of New Mexico, turned to Miera.
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The work is an all-encompassing product of and testimony to Comper's design capability, comprising the entire decorative scheme of the chapel designed by the architectural firm of Allen & Collins. Comper designed its altar, altar screen, pulpit, lectern, dozens of statues, all its furnishings and appointments, and most notably the stained glass windows. The chapel commemorates Leslie Lindsey and Stewart Mason, her husband of ten days, who were married at Emmanuel Church and perished when the Lusitania was torpedoed in 1915. From 1912 Ninian and Grace lived in London at The Priory, Beulah Hill, a house designed by Decimus Burton (1800–81), where he entertained friends such as John Betjeman.
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"Dossal" in National Gallery Glossary Retable and reredos are alternative terms for solid structures, as is altarpiece, all of them rather more commonly used today. Dossal remains the usual term for an ornamental cloth suspended behind an altar,Guild; probably attached to the wall behind. This is often called a dossal curtain, and altar screen is also sometimes used as a synonym for a cloth dossal, as well as, more dubiously, for wood or stone screens in various locations in the sanctuary. Curtains at the side of an altar may be called riddels; these may be suspended between riddel posts at the corners of the altar.
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Sanctuary interior viewed from the balcony, the organ pipework and windchests are concealed behind the altar screen Towson United Methodist Church is an L-shaped structure, with the main sanctuary on a north-south axis. Designed by architect J. Alfred Hamme and completed in 1958, the church is built of red brick in the Georgian architectural style, with a prominent, floodlighted spire surmounted by a porcelain enamel gold cross visible at 3–5 mi (5–8 km) distance on the Beltway. The imposing front facade is of cut stone from Pennsylvania, with the high main entranceway capped by a curved stone pediment. Inside, the sanctuary has three aisles with a rear balcony and can accommodate up to one thousand persons.
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The famous altar screen depicting Our Lady of Guadalupe, transported in pieces from Mexico City over the Camino Real, is signed by José de Alcíbar and dated 1783. The church remained active until the 1830s, but by the time the U.S. Army occupied the city in 1846, it was little-used and in disrepair. A visitor in 1881, John Gregory Bourke, wrote At the time of Bourke's description, the church was only being used once a year for the festival of Our Lady of Guadalupe on December 12. However, after the Denver and Rio Grande Railroad arrived in Santa Fe in 1880, Archbishop Jean-Baptiste Lamy arranged to have it repaired to serve the new English-speaking population brought by the railroad.
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1657.), 17. Mislav i Trpimir The charter documents his ownership of Klis Fortress and mentions Trpimir's decision to build a church and the first Benedictine monastery in Rižinice, between the towns of Klis and Solin, thus bringing the Benedictins into Croatia. On a gable arch from an altar screen of the Rižinice monastery, carved in stone, stands a text with the duke's name and title: > PRO DVCE TREPIME[RO... ...PRECE]S CHR[IST]O SV[B]MIT[TATIS ET INCLINATA > HABE]TE COLA TERME[NTES...] He also likely built a church in Kapitul, in the vicinity of Knin castle, where his name is recorded from archaeological remains. Trpimir undertook a pilgrimage to Cividale together with his son Peter, which was recorded in the Evangelistary of Cividale, where he is titled as dominus (domno).
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Peter and Paul at the Redemptorist Monastery, North Perth. Matzek later moved to Canberra, where a sizeable Serbian immigrant population had accumulated beginning in 1949. The Serbs built St George Serbian Orthodox Church in 1966, after the Government granted them a block of land at the National Circuit, Forrest, close to Parliament House. In the following year, Matzek, then 77, was commissioned to decorate the interior of the church, and for the next 16 years, until his death in 1983, he devoted himself to painting the side walls, ceiling and altar screen, depicting episodes in Serbian history as well as Biblical scenes. Even though the Church itself is small in size, Matzek’s two 20-metre- long panoramas and murals have attracted visitors daily from all parts of Australia and overseas.
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Bernardo Miera y Pacheco, a native of Valle de Carriedo, Mantanas de Burgos, lived in Chihuahua before he moved to El Paso in 1743. From 1754-56 he lived in Santa Fe. Multi- talented, he was an army engineer, merchant, Indian fighter, government agent, rancher and artist. It was his experience as a cartographer that made the expedition historic when he produced several maps of the expedition around 1778 and a report on the expedition, which is included in Herbert E. Bolton, Pageant in the Wilderness: The Story of the Escalante Expedition to the Interior Basin. He is also known for his artwork, including a painting of St. Michael on an altar screen in Santa Fe's chapel of San Miguel and statuettes that were in the Zuni church.
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Two cloisters — one secular, one for the monks — survive as the courtyards of the brick-and- stone 17th-century domestic ranges, now housing the Museum of the Principality of Stavelot-Malmedy, and museums devoted to the poet Guillaume Apollinaire, who was a long-term resident, and to the Circuit de Spa-Francorchamps. The foundations of the abbey church are presented as a footprint, with walls and column bases that enable the visitor to visualize the scale of the Romanesque abbey. Abbot Wibald (ruled 1130–58) was one of the greatest patrons of the arts in the 12th century; the Stavelot Triptych of gilded copper and enamels, which contained two fragments of the True Cross, was produced for the Abbey during his rule (about 1156). The binding of the Stavelot Bible, and the remaining fragments from the retable (altar screen) at Stavelot are also high points of medieval art.
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This masterpiece of a city church, with bold massing and a strong profile, has plain ashlar limestone exterior surfaces and sandstone interior surfaces in French High Gothic style, embellished with dense French Flamboyant Gothic detail in the window tracery, in the small arches of the triforium, and in the rich stonework of the reredos, where Bertram Goodhue's original genius in decoration, and sculpture designed, by Lee Lawrie, are inspired by the altar screen at Winchester Cathedral in England. Saint Thomas church is characterized by a high main arcade and an open triforium, and clerestory. Making the most of a restricted rectangular urban corner site with no space for transepts, St. Thomas has the scale of a large parish church (which it is), and, except for its foreshortened length, the proportions of major European and English cathedrals, with nave vaults high. The church, like New York's Cathedral of St. John the Divine, the largest Gothic church in the world, whose nave and west facade were designed by Cram, is built of stone on stone, without any steel reinforcing.
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