Juan Alfon, born at Toledo, painted, in 1418, several altar-screens for the cathedral of that city, which are still preserved.
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Juthwara is depicted in the Great East Window of Sherborne Abbey, and on a number of altar screens in Devon, in company with her sister Sidwell. Her traditional emblem is a round soft cheese and/or a sword. She is depicted as a cephalophore in a late medieval statue in Guizeny, in Brittany.
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The church contains two large altar-screens (reredos) by the renowned santero Pedro Antonio Fresquis. One screen is dated 1821, and there are other fine examples of early nineteenth- century santero art in the church.Cash, Marie Romero, Built of earth and song : churches of northern New Mexico, photography by Jack Parsons. Red Crane Books, 1993.
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Comper is noted for re-introducing the 'English altar', an altar surrounded by riddel posts. Comper designed a number of remarkable altar screens (reredos), inspired by medieval originals. Wymondham Abbey, Norfolk, has one example. Reredos in Wymondham Abbey, designed by Comper Only one major ecclesiastical work of Comper's is in the United States, the Leslie Lindsey Chapel of Boston's Emmanuel Episcopal Church.
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He was also an authority on liturgical art and designed and painted the iconostasis, or altar screens, of the Serbian Orthodox Cathedral of St. Sava in Manhattan. He also created the official emblem of the worldwide Anglican Communion, designed the coat of arms for the Diocese of Albany, as well as Episcopal rings, stained glass windows, altar frontals, processional crosses and religious vestments.
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This style incorporated front facing poses for those depicted. The altar screens, coming about in the mid-19th century with the development of photography, were directly influenced by the technology. The top hats and bowler hats worn by the individuals of the Duein Fubara show European influence as well as layers of social stratification. European articles of clothing such as these became symbols of prestige.
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Three almost naked figures are caught in vibrant movement. The most important renaissance painters from Dubrovnik are: Lovro Dobričević, Mihajlo Hamzić and Nikola Božidarević. They painted the altar screens with first hints of portraits in characters, linear perspective and even still life motifs. In Northwestern Croatia, the beginning of the wars with the Ottoman Empire caused many problems but in the long term, it both reinforced the northern of the ruling Habsburgs.
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Many Croatian renaissance sculptures are linked to its architecture, and the most beautiful one is perhaps the relief Flagellation of Christ by Juraj Dalmatinac on the altar of St Staš in Split cathedral. Three almost naked figures, are caught in vibrant movement. The most important Croatian Renaissance painters were from Dubrovnik: Lovro Dobričević, Mihajlo Hamzić and Nikola Božidarević. They painted the altar screens with the first hints of portraits of characters, linear perspective and even still life motifs.
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Born in Bijelo Polje in Montenegro, the priest Simeon Lazović and his son Aleksije are best known for having painted the icons of the altar screens (iconostases) and the walls of St. Dimitrius and St. Nicholas Serbian Orthodox chapels in Kosovo. Most of the icons belong to the eighteenth and early nineteenth centuries; the best among them were done by Simeon Lazović at the end of the eighteenth century. His style continued the tradition of Byzantine painting. He is the father of the painter Aleksije Lazović.
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The West Church The Byzantine Empire is representative of the Christianization of the Roman Empire by Constantine in the early fourth century AD. The change in religious affiliation influenced even the far reaches of the Empire, and is therefore evident here in Umm el-Jimal. Christian symbols can be found throughout the site carved into stone and by the architectural influences. The doctrinal shift in clergy-laity (parishioner) relations is represented by the addition of altar screens in the front of the churches and narthexes to their entries. Besides Christianity's influence through the construction of multiple churches on the site, some complexes may have had monastic use.
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All Souls' Chapel was originally conceived as a memorial to Father George Hodgson, the first "priest-incumbent" of St. Peter's Cathedral, and was built in 1888 to plans prepared by William Critchlow Harris, ARCA (1854-1913), a member of the first class confirmed in St Peter's Church in 1869. The arched reredos, with statues of apostles and evangelists occupying the niches, is typical of Harris's altar screens. The Chapel walls are occupied by 16 paintings by William's brother, Robert Harris, CMG, PRCA (1849 - 1919). The round painting above the reredos is of Christ ascending to Heaven, and has been a treasured icon to generations of Cathedral parishioners.
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The production of Altar Screens, similar to this example, began in the second half of the 19th century. Although this particular object has a vague history, the Art Institute of Chicago (where the particular Old World object in question is now held) states that the Duein Fubara was created around the beginning of the 20th century. The Duein Fubara was purchased by the institution in 2005 from Charlie Davis, a prominent collector of African art based in New Orleans. He had acquired the piece on one of his routine art collecting trips to Africa. Prior to Davis’ purchase of the Duein Fubara in 1994, the Duein Fubara had been owned by an anonymous individual residing in Lomé, Togo.
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