1000 Sentences With "apse" | Random Sentence Generator

The roof of the apse in the rear section was a shambles.

The apse was packed up, piece by piece, and delivered to the Cloisters in Northern Manhattan in the 1950s — the chapel was in ruins by then, having been all but abandoned in the Renaissance, but the apse had survived.

The term APSE has been in The New York Times Crossword 584 times.

A duet, a trio, five, seven, fourteen up in the apse of the church.

"Niche form of architecture?" is an APSE, which is a recess in a church.

The Nature Conservancy's Apse said Latin America is leading the way in developing water funds.

Winners will receive their awards in June at the APSE summer conference in New Orleans.

The blue-and-white apse depicts classical figures inspired by the work of Italian painter Raphael.

JF: I love your description of seeing the "bewildering" (Freud's word) Apse of the Cave at Lascaux.

It had the apse, the three couches, and then you went down into where the altar was.

At the front of the chapel is a rectangular altar, in front of a smooth, arched apse.

The ornate altar was still in the apse, but sundry statues and crucifixes had already been removed.

The window in the apse acts as an icon with the help of the architectural language of cathedrals.

What fascinated me about the Apse was exactly its cryptic, all-over iconographic character (what Bataille called its fouillis).

Finally, Mr. EARP is wearing a LAP BELT in the appropriate place at 39- and 38A's STOCKS COLL / APSE.

Landscape A set of daring, elegant concrete structures — including an amphitheater and an apse — sprouting out of the Arizona desert.

An apse at each end of a square means an ancient Roman basilica; lancet windows and elaborate stained glass are Gothic.

Displayed in the church's apse, the gazing ball was the centerpiece of the three-month exhibition, which also featured a video work.

After padding softly around the curtain, the viewer is confronted by an altar that has been carefully arranged and spotlit in the apse.

In Jackie Robinson Park, Shepherd placed his sculpture in the apse of a massive cathedral of plane trees lined with benches and alcoves.

The teenage martyr venerated here presides over the apse in an austere, Byzantine-style mosaic of elongated figures set against a gold background.

The object is the Fuentidueña apse, a soaring, handsomely proportioned structure that once held the altar of a 12th-century chapel in Spain.

But the apse "is a different type of artwork because it's exhibited outside," said Lucretia G. Kargère, the senior conservator at the Cloisters.

"Depending on the green infrastructure investments chosen, a Cape Town Water Fund could lead to a range of climate change adaptation benefits," Apse said.

Sediment in reservoirs is being reduced through measures such as agricultural terracing and new plantings paid for by the Upper Tana-Nairobi Water Fund, Apse said.

"Religious setback?" could mean a problem for a church or temple, but in this case, it means a physical setback, or an APSE in a church.

We're talking ETUI (needle case), APSE (section of a church) and OLEO (a type of margarine), which is not to be confused with OLIO (a miscellaneous collection).

This time around, the drone was sitting in the cobblestone driveway behind the apse, not far from a tent that had been set up as Mission Control.

The ceiling apse is outfitted in gilded stucco, and the opulent materials used reflect the spare-no-costs attitude of the Vatican: colorful marbles, stained glass, gilded bronze.

In the Duomo is a remarkably well-preserved 12th-century mosaic of Christ Pantocrator in the central apse, just above the Madonna and surrounded by the Twelve Apostles.

I discovered this through my early drawings and then within the engraved Apse of Lascaux, where my gaze was overwhelmed by an all-inclusive flood of sublimated optic information.

Picture the white oval hanging from the apse shell in Piero della Francesca's, "The Brera Madonna" (231), where the painting is centered compositionally and spiritually by the ostrich egg.

On May 21, beneath the soaring apse of the Church of St. Paul the Apostle in Manhattan, they were married in a formal Roman Catholic ceremony before 244 guests.

But even a modest rise in the water collected increases power generation along the hydropower dam cascade on the Tana River downstream of the water fund projects, Apse said.

Grace notes Curators enlisted a drone to survey damage to the Fuentidueña apse, which dates to the 21990th century, at the Metropolitan Museum of Art's Cloisters in Northern Manhattan.

The following day, interdisciplinary artist Sanford Biggers took the stage at Arcosanti's Apse Stage, where he showcased a slideshow of his work addressing the the traumas of black America.

Alessandro Cortini's horror drones made sense in the apse, especially when heard while seated atop it; almost every inch of Arcosanti was available to explore, including the tops of buildings.

As far as performance venues go, Arcosanti contains both a large Roman-style amphitheater and a smaller stage beneath an apse (a quarter sphere of decorative and shade-providing concrete).

The concert began with Ms. Bullock, standing under an apse depicting the Archangel Gabriel's annunciation to Mary, reciting an English translation of Rosario Castellanos's poem "La Anunciación" over a cello drone.

Like a Catholic cathedral, there is an apse, but where an altar would be is a large square plate-glass window through which the gentle swaying of ponderosa branches can be seen.

Fourteen square black-and-white marble panels, which Kelly designed as abstractions of the stations of the cross, hang on the walls and an 18-foot-tall redwood totem rises in the apse.

Winners of the APSE awards, which were voted on by sports editors and journalists from across the nation during four days of judging in Lake Buena Vista, Florida, will be announced in March.

Mr. Foster created a slender timber structure, the apse facing toward the lagoon, and workers were planting jasmine on a recent visit, intended to crawl up the wooden beams to provide dappled shade.

We stopped in one former church in Khakhuli, now a mosque guarded by a sleepy imam who nodded his permission for our group to sing under an apse that still bore traces of frescoes.

I first filled in NAVE because that is the part (in my head) that "sticks out," as opposed to the APSE, which is the domed recess at the top of the cross, just beyond the chancel.

Using gifts from Mr. Jaharis and his wife, Mary, the Metropolitan Museum renovated portions of its medieval art galleries, and the apse beneath the Great Hall Stairs became part of the Mary and Michael Jaharis Galleries for Byzantine Art.

Then there are some inconsistencies in the medieval restoration: The cathedral has electric lighting (although the brighter interior actually minimizes the need for artificial light), the elegant but uneven stone floor remains untreated and the apse boasts restored baroque marble.

As Mr. Kostakis drove the drone, Met officials stood at a distance, and inevitably, the conversation was about contrasts — the contrast between the 12th-century apse and the modern technology circling it, and the contrast between this survey and the one in the 1990s.

Amid uncertain rainfall patterns as the planet warms, protecting indigenous vegetation should yield more water for the city's consumption, said Colin Apse, director for freshwater conservation in Africa at The Nature Conservancy, a U.S.-based non-profit group that is working with Cape Town on the fund.

In a gallery shaped like a Byzantine apse stands a Gothic haute couture gown by Jean Paul Gaultier — technically stunning but too gaudy to love — that incorporates holographic images of saints and aluminum panels decorated with eyes or hearts, like the ex-votos believers place in shrines.

Columns are used to divide the nave. On the East side is the apse. The altar stood in front of the apse. The area between the altar and apse was called the haikal.

Fresco in the apse of the Pécsvárad Abbey A fragment of a Byzantine Madonna, dated to the turn of the 11th and 12th centuries, was discovered in the apse of the monastery. The fresco on the walls of the apse was made in the 12th century.

The church was built during the first quarter of the 11th century, originally consisting of an apse, choir and nave. Its design, with an apse almost as wide as the choir, suggest influences from England, probably conveyed via churches on Zealand and on Jutland. Original decorative details still remain, like the Romanesque semi-circular frieze on the apse and a sculpted plaque made of limestone from Saltholm immured above the entrance to the apse. The vaults of the choir and apse ceiling inside the church are also original.

In its interior, the imperial throne was placed on the eastern apse (the bēma), behind a bronze railing. The northeastern apse was known as the "oratory of St Theodore".

The church has a rectangular nave, a square chancel, and a semicircular apse. Archaeological studies of the structure indicate that the apse was built later. The arch leading to the apse has the same configuration as the arch to the chancel, suggesting that they may have been created at the same time. It is therefore assumed that an older wooden church stood east of the chancel and was later replaced with the apse.

Interior Apse The church consists of a Romanesque apse, chancel and nave. It was extended towards the west in 1625 with a porch on the west gable in 1856. An arched frieze decorates the upper apse, topped by a saw-toothed cornice. Its three finely finished Romanesque windows have now been bricked up.

Smith started All Pro Sports and Entertainment (APSE) with $10,000 of his own money and $100,000 from an investor. In 1991, APSE grossed an estimated $2 million in revenues ($ adjusted for inflation).

The church is built from hewn stones and strengthened with stooks. The typical Romanesque semicircular apse is vaulted by concha. The apse is continued by aisle. The Romanesque windows survived the fire.

In 1874 the apse and the westerns gable of the church was also destroyed, after which the church was abandoned. It was restored in 1928-29, and the apse and gable rebuilt.

The apse decoration is by Alessandro Algardi. In the apse half-dome the History of Sant'Andrea and Virtues are frescoed by Domenichino. In the apse walls are three frescoes Crucifixion, Martyrdom and burial of Sant'Andrea by Mattia Preti (1650–1651), as commissioned by Donna Olimpia Maidalchini, sister-in-law of Pope Innocent X. Vault over the nave.

The altar was formed by a semicircular or polygonal apse. In some churches the altar was separated into three parts and the external ones (called bema and diakonnik) were used for safe-keeping of the church plates, garments and books. In that case there was usually a triple apse. The design was complicated by a pre-apse space.

The southern apse cut through the middle of this entrance.

The left-hand apse has a high trilithon altar on its left, two others on right with one in a smaller chamber. An additional chamber beyond it combines a central court, niche and right apse.

The apse has a walnut choir stalls.Turismo Marche, entry on church.

A deep font for total immersion was placed before the apse.

Two prayer rooms or "studies" are positioned adjacent to and at either side of the apse. Each room contains a secret passage entrance at the second story level, facing the direction of the apse. The small passage allegedly leads to small rooms above. The apse contains the remnants of numerous portraits of the Apostles painted as frescoes around the semi-dome above.

The church consists of a Late Romanesque apse, chancel and nave and a Gothic tower and porch, all built of brick. Pilaster strips decorate the corners of the nave and chancel. The apse and chancel have a rounded foundation base. There is a three-sided wall at the east end of the apse while there are round-arched windows in the side walls.

The central nave is flanked, on the south and west, by a two-sided aisle. It terminates in a semicircular apse on the south and pastophoria on the north. In the north corner of the apse there is a narrow door, internally arched and externally topped by an architrave. The church is poorly lit, mainly through two windows cut in the apse.

The apse, located at St. John's eastern end, is made up of numerous components. The center of the apse contains the choir, located below the great organ. Two ambulatory passages run adjacent to the choir, one to the north and the other to the south. Seven chapels, a baptistery, and a columbarium are also located in the northwestern part of the apse.

The gothic apse of the former Oloron Cathedral, now St Mary's Church.

145 The freestanding remains of the apse are well preserved (see photo).

The triple apse of an Orthodox church. The Altar is in the larger central apse, the Prothesis in the apse to the right, and the diaconicon in the one to the left. The diaconicon (; Slavonic: diakonik) is, in Eastern Orthodox and Eastern Catholic churches, the name given to a chamber on the south side of the central apse of the church, where the vestments, books, etc., that are used in the Divine Services of the church are kept (the sacred vessels are kept in the Prothesis, which is on the north side of the sanctuary).

The apse was the section where Enrico Scrovegni had meant to have his tomb. The presence of frescoes dating to after 1320 supports the demolition hypothesis proposed by Giuliano Pisani. The apse, the most significant area in all churches, is where Enrico and his wife, Jacopina d'Este, were buried. This apse presents a narrowing of the space which gives a sense of its being incomplete and inharmonious.

In 1787, a new parish church was erected in the center of Alles, and this church was abandoned. The temple has a single nave and currently a straight apse, which was preceded by a semicircular apse. The main entrance is on the southern side. The apse is made out of blocks of sandstone, which are also used in the roof on the southern end.

The west facade has a basement entrance and tripartite window, again with diamond-paned colored glass, on the apse flanked by pointed windows on the pent-roofed sides, with another octagonal oculus in the rear gable field above where the apse projects. Below the apse the basement is mortared fieldstone. Windows, a main entrance and a secondary entrance on the south side are trabeated with brick.

St Awtel Church Layout A plain rectangular shape is terminated at its Eastern side by a semicircular half-domed apse. The apse's vault is ornamented with paintings of angels/cherubims on a light blue background. The altar, made of white marble, is centred into the apse and pushed into its wall. The icon representing Saint Awtel is hanging above the altar in the middle of the apse.

The latter is an oblong rectangular hall which ends in a relatively shallow semicircular apse, placed three small steps above the floor level. The apse is separated from the nave by an original three-arched stone iconostasis. The vault is divided into two equal parts by a supporting arch. The church is sparsely lit by two windows, one each in the apse and west wall.

The massive stone iconostasis separates the space towards the altar apse. The preserved frescoes on the central part (naos) and on the iconostasis differ from those in the altar apse. According to their style, they belong to the 14th century, while those in the altar apse indicate the style of the 15th century. Visitors can reach Gradešnica from Staravina; there is an asphalt road leading there.

The background consists of the apse of a church in Renaissance classical style, which is rendered in such meticulous perspective that the feigned depth of the coffer-vaulted apse at the rear can be calculated.E.g. by Lavin 2002:270f. At the center, hanging by a thread from the apse shell is an egg, emblem alike of Mary's fecundity and the promise of regeneration and immortality.Noted, e.g.

1, 1886. Thus, Apse Heath refers to a Heath (small moor) populated by Aspens. Apse Heath Methodist Church has a congregation of 11 to 15 that meets every Sunday to worship.Apse Heath Methodist Church , Isle of Wight Methodists website.

Lombardia Beni Culturali, entry on church. The apse has 16th-century stucco decorations by Abbondio da Ascona; the hemicycle of the apse has a fresco of a Resurrected Christ by Callisto Piazza.Comune of Lodi, tourism entry.Parish of San Lorenzo.

A northern extension to the Cloisters, The Fuentidueña Apse, was completed in 1961.

Part of its apse belonged to the older church from the 18th century.

The apse of the cathedral has an 11th-century crucifix. The ceiling of the apse was frescoed by Costantino Sereno, depicting Christ in Glory with Angels. Behind the church is a museum of religious artworks.Comune of Casale Monferrato, entry on church.

Currently, the church is in a state of ruin. Only the foundations in the western part remain, together with the east apse which is partially preserved up to the roof level. Inside the apse, fragments of murals can be seen.

The monastery church or basilica is cruciform in shape and doubled-apsed to the east and to the west. It measures c.91.44 meters from apse to apse, the nave is c.12 meters in width and each aisle is c.

An apse is a semicircular recess covered with a hemispherical vault. Commonly, the apse of a church, cathedral or basilica is the semicircular or polygonal termination to the choir or sanctuary, or sometimes at the end of an aisle. In relation to church architecture it is generally the name given to where the altar is placed or where the clergy are seated. An apse is occasionally found in a synagogue, e.g.

In the late 1930s, St. Stephen's Mausoleum was erected behind the Basilica's ruined apse.

The nave crosses the transept and ends in a window, tracing the ancient apse.

The footpace is also old, and placed exactly in the centre of the apse.

Exterior view of the apse Frescoes in the interior of the apse The church Santo Stefano di Sessano is all that remains of the village of Sessano, located on the rocky foreland to the east of the village of Chiaverano, which may have been abandoned after a landslide. The 11th-century building has the characteristic features of the Romanesque churches in the area, such as the belltower in the center of the façade. The actual building has a single nave three bays and an end apse. The sacristy was added to the apse during the Baroque period.

4 metres diametre that allowed direct view of the Nativity site underneath. An ambulatory with side rooms surrounded the apse. # A five-aisled basilica in continuation of the eastern apse, one bay shorter than the still standing Justinianic reconstruction. # A porticoed atrium.

The church was renovated in 2001–2002. It keeps the three-apse plan, with a semicircular altar apse and a belfry tower to the west. It shelters the tomb of its founder in a niche in the wall between the nave and narthex.

The apse is a semi-octagonal projection with three large figural lancet windows that retain their original stained and painted glass. The apse ceiling is a ribbed segmental arch vault. The ribs are decorated and feature plaster boss caps at their apex.

Liturgical direction rarely coincides with cardinal direction. Here, the apse is placed in the southern end of the church. The interior has a cruciform floor plan. The front of the church has a sanctuary with a semicircular apse with a hemispherical semi-dome.

The apse also has a 13th-century carved polychrome wooden crucifix.Tourism Promotion Agency of Basilicata.

Built using stone and brick, the church has one nave, one apse, and one transept.

The semicylindrical wall and the semidome of the apse of the holy bema were restored.

Roof lantern with the cross Apse Small and simple building made of smaller marlite stones cut in rows consists of a round nave vaulted into a dome with a roof lantern, and half-round apse at the Eastern side. Apse is decorated by an arched frieze. At the top, there is a lantern with compound Romanesque windows, with, at the very top, gold-plated cross, crescent moon, and an eight-pointed star.

Apse and belltower of Ninotsminda Cathedral Ninotsminda Cathedral () (c. 575) is located in the village of Sagarejo, in the Kakheti region, Georgia. Ninotsminda Cathedral is highly significant to the development of Georgian architecture, as it predates Jvari Monastery in Mtskheta, and served as a model for the development of the later tetraconch (four-apse) form. The site is ruins today, with only the eastern apse and a portion of the western wall remaining.

The triple apse of an Orthodox church. The Altar is in the larger central apse, the Prothesis in the apse to the right, and the Diaconicon in the one to the left. The Prothesis is the place in the sanctuary Traditionally, in Orthodox churches, the entire sanctuary is referred to as the "Altar", the altar table itself being called the "Holy Table" or the "Throne". This traditional terminology will be used throughout the article.

The main nave is divided by prominent pilasters into two nearly equal parts. The vault over the middle nave is supported by arches. The arch of a semicircular apse is two- tiered and somewhat horseshoe-shaped. The apse itself is lower than the central chamber.

The polygonal apse and two-tiered bell-tower are similar to that of the Lodi Cathedral.

The interior has a rectangular plan with a nave and two aisles, and a semicircular apse.

The nave and aisles have embattled parapets. At the east end is a semi-octagonal apse.

He was also named APSE second team all-state and was the District 11-5A MVP.

It has a nave and a rectangular apse, arches over columns with capitals with Renaissant motives.

The domed apse became a standard part of the church plan in the early Christian era.

In the apse of the church there is a fresco representing the iconography of the saint.

In the rear there is no apse, just a wing with offices, vestry and lecture rooms.

These projecting arcs echo the shape of the apse at the eastern end of the building.

The chapel of the Blessed Sacrament, adjacent to the apse, was added in the 19th century.

Inside the basilica the central nave was accessed by five doors opening from an entrance hall on the eastern side and terminated in an apse at the western end. Another, shallower apse with niches for statues was added to the centre of the north wall in a second campaign of building, while the western apse housed a colossal acrolithic statue of the emperor Constantine enthroned. Fragments of this statue are now in the courtyard of the Palazzo dei Conservatori on the Capitoline Hill, part of the Capitoline Museums. Opposite the northern apse on the southern wall, another monumental entrance was added and elaborated with a portico of porphyry columns.

The nave and apse of the church are barrel vaulted. The apse is rectangular in shape with a flat chevet. The posterior walls of each aisle are of original 17th century construction, a rarity for the region. The current facade has been modified from the original.

The triumphal arch of the apse has two frescoes with the Crucifixion; the apse has remains of majolica-covered pavement from a Neapolitan workshop of the Angevin era (late 14th-early 15th century). Also present is a Martyrdom of St. Ursula attributed to Francesco da Tolentino (1520).

The nave can hold 1,000 people. The baptismal font and statues have captions in English and Chinese. The nave extends into a high vaulted apse (pictured right) at the east end. The aisles on either side of the nave are continued around the apse, making an ambulatory.

Building diagram The building has a round centralized midsection covered with a dome and a semicircular apse on the eastern side. The church door is opposite the apse. Constructed of small blocks, they were left unpolished. The blocks are arranged in rows and joined with mortar.

It is believed that the structure was covered with a dome made of small blocks, arranged concentrically. The base of the walls is thick, with a bench that went around the entire structure, including the apse. At the back of the apse exists a loophole window.

The church is roofed with industrial tiles. Only the ends of the roof panes (by the belltower and the apse respectively) are clad with sheet copper. The apse is also clad with sheet copper. The nave is separated from the altar space by an iconostasis partition.

This is a church of small dimensions of a single nave covered with four sections of a grain vault. Being situated on a slope, the apse, of two floors, is at a higher level than the central nave. In the basement of the apse is a crypt.

At the top of the stairs leading to the gallery there is a walled-up Romanesque portal , which decorated a passage to the palatium, the seat of a castellan for whom the gallery was constructed. A semi-circular apse with three stairs is oriented to the East. The apse is separated by an internal phase and closed by a conche emphasised by building stones. The altar stone located in the apse is a hole for relics or holy oils.

The format reflects all the specifications of a basilica with an apse, a large nave in the middle and two narrow ones at the sides. The outer wall of the apse is of hectagonal plan. The basilica shows changes to its plan over time. Possibly at the end of the 4th century the apse and naves were filled up to the level of the floor visible today and the filled area was pressed and covered with mosaics.

The interior is a square divided into three naves by pillars and columns, with a pentagonal apse.

The tower and apse were listed on the United States National Register of Historic Places in 1980.

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Further, it should be stated that the assumption is negatived by the movement of the moon's apse.

The cathedral has a Latin Cross structure, with a length of 85 m. It has a nave, covered by a barrel vault, and two aisles, with an ambulatory and five apse chapels. The triforium features triple ogival mullioned windows. The apse houses a calvary sculpture from an unknown date.

This uppermost zone contained the dome, drum and apse. The dome was reserved for the Pantokrator (meaning "ruler of all"), the drum usually contained images of angels or prophets, and the apse semi-dome usually depicted the Virgin Mary, typically holding the Christ child and flanked by angels.

The sacristy was in the extension on the south elevation. The rounded apse on the east side of the building has four windows and is where the altar was located on the inside. A small cross tops the gable on the east side of the church above the apse.

The spandrels depict the four evangelists. while in the dome are the four cardinal virtues. They also painted the apse frescoes. The wooden pulpit with panels depicting the five glorious mysteries was carved by D. Bonfini of Patrignone. The apse has wooden choir stalls (1620) by Agostilio Evangelisti.

Other canvases depict St Jerome, St Agnes, the Holy Family, and La Pietà. Beside the apse are two canvases depicting St Sebastian healed by Irene and his Martyrdom. Above, in the apse vault, is the Glory of St Sebastian. The main altarpiece depicts the Martyrdom of St Sebastian.

The apse of Härslöv Church contains fragmentary Romanesque murals from the second half of the 12th century. They depict Christ in Majesty and the symbols of the Four Evangelists. There are also ornamental paintings on the apse arch and further paintings above the vaults, i.e. currently not visible.

This is surrounded with eight rectangular rooms, each accessible via three arches. Four were used as entrances to the church, the other four as chapels. The space between the eight rooms was filled with heptagonal chapels with a triangular apse. The dome above the apse was decorated with mosaics.

The central section is dominated by the semi-circular apse, which is covered by a leaded half-dome beneath the apex of the pointed east gable. The lower stage of the apse is undecorated while the upper stage is divided into three bays by Corinthian pilasters. In each bay, an oblong window sits below a panel with carved garlands. The wall each side of the apse advances slightly from the line of the towers and is capped with a decorative scroll.

However, only the figures in the apse, including a portrayal of the enthroned Christ can still be identified.

At the east end of the church the apse has a hipped roof and a triple lancet window.

The church was ended with an almost squared choir which consisted of a presbytery and a semicircular apse.

Anglo-Saxon window on the east wall Parts of the church preserved from Anglo-Saxon times are the apse and the underlying crypt, the north wall of the church and the pillars. The crypt and the apse above it come from different periods: The oldest part, three niches and windows in the crypt, are from the eighth century. The apse above dates back to the ninth century and is one of the finest examples of ninth-century architecture and the only fully preserved Anglo-Saxon apse in England. From the Anglo-Saxon period also comes the 10.6 metre high three-nave church with the exception of the outer wall of the southern aisle.

Curta, p. 195. The basilica, a nearly square building measuring , features three naves and a two-winged apse. On top of the basilica's ruins lay an octagonal building, with an apse in the northern part. Balabanov claims this is a mausoleum and likens it to the Mausoleum of Theodoric in Ravenna.

The church of St Elijah in Boboshevo. The church was constructed in 1687. It is located in the eastern part of Boboshevo, near the Byalata Prast locality. It is a small one nave and one apse church with a length of 7,20 m and width of 5,30 m without the apse.

View of the apse The church was built in the Neo-Russian style. It is a three-aisled masonry church, which on the plan forms an oblong rectangular with a polygonal apse and resembles a ship. The cathedral has ten towers with gilded cupolas. The interiors include murals and ceiling pieces.

Dmanisi Sioni. A prominently protruding apse on the east. Dmanisi Sioni. The narthex with Georgian inscriptions above the entrance.

The church during spring Apse and transept in a flamboyant style,with gargoyles to the south. 18th century nave.

The three-bayed, semi-circular apse houses a roofed exhibition hall with skylights. The building was renovated in 1995.

Surviving drawings attest to his role in designing the lunette in the apse, Heraklios Carrying the Cross to Jerusalem.

Lining the apse are two stages of blind arcading, and paintings by Hardman & Co. that were damaged in 1941.

Of the original monastery built in the early 14th century, only the apse of the church and parts of the cloisters remain. The apse is a typical example of the plain Gothic of the monasteries built by the mendicant orders in mediaeval Portugal: clear forms and little decoration. The apse is composed of a main chapel and two side chapels, all of polygonal shape and reinforced with buttresses. In the interior, all chapels are covered by rib vaulting and are illuminated by three windows.

APSE standing for Ada Programming Support Environment was a specification for a programming environment to support software development in the Ada programming language. This represented the second stage of the U.S. military Ada project; once the language was implemented, it was felt necessary to specify and implement a standard set of tools, hence the APSE. CAIS-A, Common APSE Interface Set A, was defined in MIL STD-1838A. CAIS defines a set of Ada APIs to enable portability of development tools across operating systems.

The church of the Virgin Mary also contains an enthroned Hodegetria with a Communion of the Apostles in its ruined apse. The walls of this church were presumably entirely painted in the same manner as the main church, but everything but the apse has collapsed into ruins down the side of the mountain.

Unfortunately, much of the decoration within the apse was destroyed due to the central portion collapsing. However, there is still some fragmentary fresco decoration throughout. In the conch of the apse, one can discern two archangels standing against a dark blue background. One holds an orb while the other grasps a staff.

Interior Altar of the church The church has a Greek cross plan. semicircular apse has five arched windows, above which, within a frame, is the inscription SANCTA MARIA MATER DEI ORA PRO NOBIS (Holy Mary, Mother of God, pray for us). In the apse there is a fresco of the painter Federico Morgante.

The Khakhuli Church has a dome with arcs, which is supported by the apse corners and two free-standing piers.

The aisles and long apse were enlarged to their present size in the late fifteenth century by Lorenzo da Bologna.

"The Apse Mosaics of St. Sophia at Istanbul. Report on Work Carried out in 1964." Dumbarton Oaks Papers, 1964, 142.

Wittkower p 357 He died in Rome in 1647, where his last work was apse of San Carlo ai Catinari.

The church has a rectangular plan consisting of a five-bay nave with side aisles terminated by a polygonal apse.

The apse contains fragments of medieval mural paintings and the church has a richly decorated pulpit from the 17th century.

The church is constructed of ashlaring walls with a square west tower, rectangular nave and lower rectangular chancel and apse.

The Apse and Altar 14th Century fresco on apse wall The apse of the church is five sides and is covered by radiating Gothic vaults which spring from the top of engaged columns resting on stone brackets located about a third of the way up the side of the walls. The columns, capitals and ribs of the apse are in a more elaborate style stonework similar to what is found on the front portal of the church. It was probably done at the same time and by the same masonry crews of the portal. The rear Gothic style window with stained glass depicting St. Francis St. Gemine, St. Rocco and St. Matilda is new and was all done in the 1950s.

The church is constructed in red sandstone. Its plan consists of a nave, a west porch, a chancel with a polygonal apse, a north chapel, also with an apse, and a vestry acting as a sacristy. On the ridge of the church is a bellcote. The porch contains panels depicting the symbols of the Evangelists.

The most famous element of the church is the mosaic decorative program. Paschal hired a team of professional mosaicists to complete the work in the apse, the apsidal arch, and the triumphal arch. In the apse, Jesus is in the center, flanked by Sts. Peter and Paul who present Prassede and Pudenziana to God.

The present church at the site was built between the 11th and 12th centuries at the site of an earlier 9th century church,. The ceramic decoration in the apse dates from this latter construction. The layout is that of a Latin cross with three naves, each with a semicircular apse. A bell-tower rises alongsides.

The front wall of the apse is framed with a narrow decorated band filled with praise of Euphrasius and his works. The lower part of the apse is decorated with stone slabs encrusted with mother-of-pearl. Part of these came from an earlier wainscotting. They consist of 21 fields with 11 different decorations.

In the nave is a pulpit of the thirteenth century. The apse contains a 13th-century fresco depicting Twelve Apostles; a 14th-century fresco in the chancel arch of the apse depicts San Secondiano and the Last Judgement. This has been attributed to Gregorio and Donato D'Arezzo. One belltower dates to the 12th-century.

Further, less substantial alterations were made during the 18th century, and in 1803 the medieval apse was replaced with the present, pentagonal apse which contains the sacristy. The original entrances were walled up in 1843 and a new, western entrance constructed. A western church porch was placed in front of the entrance in 1901.

The church is oriented five degrees from a perfect west–east orientation. The foundation of Lazarica is at an elevation of . Internal length, from the top of the altar apse to the west wall of the narthex, is . The western width of the nave is from and the radius of the apse ranges from .

Early medieval paintings in the apse The church dates from the first half of the 12th century. Originally it consisted of a broad, western tower, a nave, a chancel and an apse. In the 15th century, an earlier ceiling was replaced with vaults. Further changes was made after the end of the Middle Ages.

By the late 1950s this clapboard annex was structurally unsound, and a new brick apse and sacristy designed by the firm Evans Woollen and Associates replaced the old chancel. The curved wall of the new apse contrasts greatly with the rectilinear rigidity of the Gothic nave. This dissonance is viewed by many as a stylistic strength of the building in its blending of hard and soft architectural forms. Acoustically, the curved apse wall promotes dissemination and reverberation of sound, creating a space much noted for its use in musical performance.

The west apse of the Basilica of Maxentius — the original location of the Colossus — is indicated in red. An 18th century engraving of The Basilica of Maxentius-the western apse would have been at the left The Basilica, on the northern boundary of the Forum, was begun in 307 by Co-Emperor Maxentius. Constantine completed the Basilica after he defeated Maxentius at the Battle of the Milvian Bridge in 312. Constantine seems to have reorientated the building, changing the site of the principal entrance and adding a new northern apse.

The apse has narrower round arch openings taking up most of each of the five sides. The walls of the nave and apse are constructed of random rubble. There are alternating red and blue coloured concrete block quoins to the corners and the edges of the arched openings. The third stage comprises the porch, including the west gable parapet wall surmounted by a Latin cross at its apex, the gable parapet wall to the nave also with a Latin cross, and the tiled roofs of the nave, apse and porch.

CE Church, Surqaniya (سرقانيا), Syria - West façade - PHBZ024 2016 6121 - Dumbarton Oaks The fourth-century, single-nave church is located near the center of the cluster of houses. The church is poorly preserved, with only the triumphal arch doorway of the sanctuary and apse walls surviving. In the fifth century, the apse of the nave was flanked by a second apse, presumably used for baptismal purposes. Unidentified Building, Surqaniya (سرقانيا), Syria - Door detail, south façade - PHBZ024 2016 6096 - Dumbarton Oaks The larger, sixth-century chapel is situated about 100 meters south of the modern road.

The only relic of the original chancel by that apse is the altar table, and the eastern apse connects with the church annexes. The roof, upgraded with gutters in 2012, is dual, with a lower surface above the transept and a higher one above the apse. A statue of Our Lady of Good Friday was removed from this church and moved to the church of Saint Anthony of Padua in Binač. The church in is a prime location, with a churchyard reaching down toward in a terrace wall at the bottom of a hill.

Saint Joseph's Church was built of reinforced concrete in 1969 with a façade of well-hewn stone from Stubllavaçë, the same source used for Saint Anthony of Padua’s church in Binač. The façade stones are sloped and tinted gray, and the edifice is topped with a Latin cross inscribed as follows: Martirët tanë 1846–1848 (“Our martyrs 1846–1848”). The church is triangular, featuring a nave from transept to apse and two side naves with no apse. The apse is pentagonal on the exterior, with two corners facing inward and three facing out.

In typical Calvinist style, there is no altar, and the apse contains a pulpit raised high, with steps on either side.

Apse of Saint Nicholas's church The complex was later put in commendam. It was acquired by the Cistercian order in 1938.

From the larger St. Mary's Church, standing in the north-west part of the area, only the apse with frescoes remains.

The flat apse ('chevet' or 'head' of the building) is dated 1577 and was therefore constructed after the Wars of Religion.

Bell tower. Santa María Magdalena is a church in Zaragoza, Spain, built in the 14th century in Mudéjar style. Apse view.

The Zemo Krikhi church, measuring 13.4 × 5.7 m, is built of dressed stone blocks and lime. It is a hall church, with a projecting apse on the east. The apse has a pentagonal exterior and semicircular interior. On the south and west, the church has annexes, apparently special areas for women (sakalebo), built later in the 11th century.

It is accessible via an entrance on its west wall. The wooden door is high and is topped by a shallow semicircular niche. Apart from that niche, the only other decorative feature of its architecture are the narrow windows placed on the apse and the south wall. The apse is semicircular and attached to the church's east side.

View of the apse (east end of the cathedral) Construction of a cathedral on the site began in 1292, and was not complete until the early 15th century. The structure as seen today was rebuilt in 1646. It still has a rounded apse, and buttresses along the nave. The Gothic portal (1413) of the previous church was retained.

The church also contains 13th century frescoes including a Christ Pantocrater. The nave ceiling was decorated by Pietro Sorisene and Pompeo Ghitti with architectural decoration by Agostino Avanzo. The apse ceiling has a depiction of the Seven Angels of the Apocalypse by Ottavio Amigoni. The exterior of the apse still betrays the Romanesque architecture of the original church.

On the upper wall Moses is shown in two panels on a landscape background. In the apse we can see the Transfiguration of Jesus on a golden background. The apse is surrounded with bands containing medallions of apostles and prophets, and two contemporary figure, "Abbot Longinos" and "John the Deacon". The mosaic was probably created in 565/6.

The configuration is a nave and two aisles with semicircular apse. The high altar is a Palaeo- Christian sepulchre, surmounted by a 14th-century ciborium. Next to this is a large marble casket containing the relics of San Clemente. In the crypt two apse railings divide the primitive church from that rebuilt by the Benedictines in the 12th century.

A statue of Benedict of Nursia, the church's dedicatee, stands in a niche above its door. At the east end of the church the chancel has an apse. Inside it is a Byzantine-style painting of the apse representing Christ in Majesty, with angels, and saints in arcading, below. It was painted by Henry Holiday between 1912 and 1919.

Frescoes on the left wall depict the last Supper. Frescoes on the right wall of the apse depict the Last Judgement, above a procession of flagellants. These frescoes are interrupted by later ones showing St Bevignate and a kneeling donor. Frescoes on the arch of the apse are mostly non-figurative; two narrative scenes are too damaged for interpretation.

Constructed in the basilica style, there are three naves and a large central apse. The nave is covered with a barrel vault and side vaults. Outside, the apse has a double deck at its edge, decorated with blind arcades and a sawtooth frieze. The main facade consists of a portal arch with edge and two small columns.

The socle of the apse contains frescos depicting beasts and threatening imaginary animals. Above this, the twelve apostles are depicting in pairs. The ceiling of the apse has a fresco showing Christ in Majesty. The socle of the chancel arch contains to the left and right depictions of Atlas, and higher up a bird- woman and a capricorn.

The church was founded in 1875 by the Bryanites or Bible Christians. The cornerstone of the present chapel was laid by Lord Alverstone, on 10 September 1902. Electric lights were installed in the church and hall in 1956.Apse Heath Methodist Church History Apse Heath has a shop, called "Raj's Premier Stores", some other businesses and a post office.

An apse was constructed onto the east tower. Additional levels and a spire were added to the western tower. The top floor of the eastern tower was removed, and a new clerestory level was built over the nave, east tower and apse. Windows of the western tower were enlarged to become entrance doors (still visible today).

The stone church was built in the then prevailing Romanesque style, and consisted of a nave, choir and a semi-circular apse. The church was enlarged at the end of the Middle Ages. The old choir was dismantled and a new one built, without an apse. The original chancel arch between the choir and the nave was also removed.

The central nave ends with a deep polygonal apse, enlightened by two orders of ogival windows; in the centre of the apse rises the marble high altar, decorated with gilded bronzes and surmounted by the tabernacle Behind the altar there is the altar piece The Sacred Heart and the Souls of Purgatory, by Giuseppe and Alessandro Catani.

The lower church has columns with capitals carved with animal and vegetable motifs. The walls and chapels contain numerous frescoes. A twelfth century fresco of Christ Pantocrator is found on the lower apse, above a depiction of Saint Flaviano martyr on horseback. The right wall of the apse has an Annuciation (1575); the left, a Baptism of Christ.

An exact replica of the mural painting on the central apse was made in place of the original. However, the original mural painting on the northern apse can only be seen in the National Art Museum of Catalonia.Romanico Catalan, "Sant Climent de Taüll" , accessed February 20, 2012. The removal of the mural paintings was done by applying horsehide glue.

The dome is pierced by 12 windows, six of them built up in the 15th century. Two more columns are positioned in the western part of the bay. A somewhat deformed horseshoe apse is at the tip of the deep bema. A tall arched window is cut in the apse, with an arched niche below it.

By the 12th-century, the church was encompassed by the Palazzo Vescovile. Exterior of apse of church The original tryptich that was once found in the main altar is now in the Diocesan museum. The frescoes in the apse ceiling depicting the God the Father and cherubs, dates to the 15th century.Comune of Spoleto , entry on church.

In the northern apse, there is a depiction of the dormition of the Virgin Mary. The southern apse has a representation of the resurrection with the two Mary's and two angels. The church complex has several annexes along the east and south walls. The most significant one of these is the great hall that runs alongside the south wall.

The frescoed apse Fresco in the wall of the older church San Cristoforo sul Naviglio is a church in Milan, northern Italy.

His works include the apse cycle in the Old Cathedral of Salamanca. In 1446 he probably worked at Naples in Castel Nuovo.

The Basilian church was a small oratory built into the temple's apse. It was originally intended to be used as a monastery.

The word "apse" in the local dialect means an aspen tree, or Populus tremula.Publications by English Dialect Society, London, no.22,26,45 pt.

Build around the thirteenth century, is now on road 23 between Borgosatollo and Montirone. It still has some frescoes in the apse.

The church was expanded several times and rebuilt during the fourteenth and the fifteenth centuries, but the old Byzantine apse was retained.

The apse has a half-conical roof; it is divided into three bays by buttresses, each bay containing a round-headed window.

The church is built as hall church in southward direction with a short nave and crossing as well as a diminished apse.

The apse has a large fresco depicting the Trinity with Apostles and Florentine Saints, by Niccolò Lapi.Oratorio San Filippo, Florence, official site.

The apse and organ chamber have lancet windows on each side, while the transepts have larger windows with sexfoils (six-lobed heads).

Inside is a fairly-small, quadrangular room with four pointed arches marking four bays and terminating in a large, horseshoe-shaped apse.

In the apse of Santa Maria Assunta in the town of Arrone in Umbria, he painted frescoes in conjunction with Lo Spagna.

1900 The apse, chancel arch and vestry were added. A pulpit and choir stalls were also introduced. This cost a total of £9,000.00.

Chancel :17. Bishop Johann Gottfried von Aschhausen (d 1622) :18. Ferdinand von Schlör (d 1924) :19. Choir and apse in stucco relief :20.

The installation is made with green and blue neon lights for the main nave, red in the transept and yellow for the apse.

The six windows cover an area of and are positioned on both sides of the Chagall windows in the apse of the cathedral.

The chapel consists of a nave with a rectangular apse and south portico, formed by four wooden pillars resting on rough stone bases.

Internally, the layout is a standard East facing cross, save that at the East end of the church there is an octagonal apse.

Medieval murals in the choir As mentioned above, the church consists of a broad western tower with two spires, which is broader than the original nave. In front of the south-western portal is a Romanesque porch with two pillars supporting a roof; this canopy is unparalleled in Swedish church architecture. Traces of masonry found next to the apse indicate that there may have been smaller towers on either side of the apse as well, an arrangement known from Danish Romanesque churches. The church has two transepts, a central nave and a choir with an apse.

Apse Heath is a hamlet on the Isle of Wight, UK. Apse Heath is centered on the intersection of Newport Road and Alverstone Road. At the 2011 Census the Post Office said the population of the hamlet was included in the civil parish of Newchurch, Isle of Wight. It is northeast of Whiteley Bank and south of Winford. Apse Heath is bordered by the leafy villages of Alverstone and Queen's Bower, and is surrounded by areas of woodland and agricultural land. It also sits roughly 2 miles east of the village of Newchurch, and 1 mile west of Lake.

The Fuentidueña Apse, Spanish, c 1175–1200. 29ft 8.5in (905.5 cm) height, 22ft 0.5in (672cm) wide at max The Fuentidueña Apse is a Romanesque apse dated 1175–1200 that was built as part of the San Martín Church at Fuentidueña, province of Segovia, Castile and León, Spain. Little is known about the church's commission, design or early history. It is believed to have been built when the town was of strategic importance to the Christian kings of Castile in their defence against Moorish invaders; the church is situated on an imposing hill below a fortified castle.

Main altar and paleo-Christian apse The imposing main altar, damaged over the years, was built in 1743 by Domenico Antonio Vaccaro. Behind the apse is visible the ancient church apse. The major chapel of the Crucifix or Cappellone del Crocifisso, in the left transept, has statues of Costantino and his daughter Costanza sculpted by Lorenzo Vaccaro in 1689. On the left, in the entry portal for the Oratory of the Confraternity of the 66 priests (Oratorio della Confraternita dei LXVI Sacerdoti) are two tombstones from 999-1003, that refer to the foundation and consecration of the basilica.

The alabaster baptismal font (1514–1516) is the work of Vasco de la Zarza. The thick wall of the ambulatory of the apse is embedded in the solid, fortified wall surrounding the city. A retrochoir divides the central nave from the transept, the choir and the apse. The plateresque retrochoir was intricately decorated with high-reliefs by Lucas Giraldo and .

Apse with altarpiece by Hendrik van der Geld (1878–1881) A winged altarpiece is located in the apse. It was created by Hendrik van der Geld in 1878, costing fl. 4,800. Missing parts were filled in later until it was finished in 1881 except for the wings of the predella. The altarpiece consists of oak and is filled with partly gilded reliefs.

The Red Smith Award is awarded by the Associated Press Sports Editors for outstanding contributions to sports journalism. It has been awarded annually at the APSE convention since 1981. Unlike many journalism awards, it is open to both writers and editors. The Smith Award is traditionally announced in April and the winner receives the award in June at the annual APSE convention.

The presbytery is elevated and accessed by two steps. Under the high altar are two sculpted lions, which were originally placed at the sides of the façade. The presbytery ends in a semicircular apse. Light is provided by two double mullioned windows in the eastern and western walls and by single mullioned windows in the main walls and the apse.

The last is chosen to be shown separately (that is, to be emphasized). Bringing this scene in the middle of the apse is intended to signify the preparation of the Holy Sacrament for the liturgy. The Virgin herself is treated here as the gift to the Father by her parents. On the opposite apse (a sacristy), John the Baptist’s lifeline is shown.

The vaulted main entrance is flanked by a room with an apse on each side. The apse is roofed by a semi-dome. An Armenian inscription in five lines is over the main entrance, and an Armenian prayer is inscribed on the large arch. A painting of Saint Gregory the Illuminator is on the left interior wall behind the main entrance.

A double church, or twin church, is a church design found in Byzantine architecture. The double church design of the Üçayak Byzantine Church features double naves standing side by side and separated by a common wall. The twin church design at Üçayak has two naves each with a separate semi-circular apse. Each apse includes a rectangular bay in front of it.

This is the most important chapel in the cathedral. To the south is the Chapel of the Holy Trinity, so called because it contains a bas relief of the Trinity of the mid-16th century. Apse and high altar The transept leads to the choir and apse. The 16th-century choir stalls are decorated with scenes from the passion and death of Christ.

Inside the church are four bays at each elevation; each contains a stained glass window. The apse may be found in the east of the church; it is rectangular and lighted by three pointed windows, the center one larger than its fellows. A brick chimney on the exterior breaks the shape of the roof. A small vestry may be found beside the apse.

Today, Oldham is remembered annually on 1 March, designated as Founder's Day at the Anglo- Chinese Schools. In memory of him, the Wesley Methodist church also erected an apse in 1957 to commemorate its 50th anniversary. The stained-glass window at the apse shows the life of Oldham and the church's milestones. Oldham Lane near Dhoby Ghaut, is named after him.

On 5 August 2007, a small plane crashed, briefly after taking off from Isle of Wight Airport in Sandown in Lake, next to Apse Heath, killing all 4 passengers.Plane crash death probe continues, BBC News, 6 August 2007. Apse Heath was the site of brickmaking operations in the past.LIST OF BRICKMAKING SITES , Isle of Wight Brickmaking History, Isle of Wight Industrial Archaeology Society .

The church interior underwent reconstruction by architect Gabriele Valvassori, though the facade remained unfinished. The apse, even after Baroque restoration, still shows signs of the original Romanesque architecture. The apse is frescoed with The Eternal Father by Sebastiano Conca. The chapel of St Joseph on the right has an altarpiece depicting the Death of St Joseph (1754) by Giovanni Conca.

A recessed rectangular apse, flanked by a pair of fluted, engaged columns, is behind the altar. A painting of Jesus hangs in the center of the apse, with an American flag to its immediate north. An organ and a piano are north of the altar, with a baptismal font south of it. The altar platform and aisles are carpeted red.

In the apse is a Glory of the Virgin with St John Evangelist, and St Catherine attributed to followers of Federico Barocci. In the Chapel of the Patron Saints is a canvas depicting the Virgin, St Michael Archangel, and St Pope Eleuterio with 18th-century Mondavio in the background by Sebastiano Ceccarini.Tourism Marche, entry on church. Carved wooden choirs stalls line the apse.

Böda Church was built during the second half of the 12th century as a Romanesque church with nave, a narrower choir and apse. During the late 12th and early 13th century, the church was rebuilt into a fortified church. During the reconstruction, the apse was removed and the nave and choir made equally broad. The church was almost completely rebuilt 1801-03.

Parish Church 1844: brick with Welsh slate and stone slab roofs, stone dressings, coped gables with kneelers. Nave with apse, gabled porch, bell turret. East front has central porch with coped gable and cross, four centred archway doorway with label mould and close boarded door flanked by two double lancets with Y tracery. Apse has 3 singlet lancets and pitched roof.

The western apse, which is used as the Baptistery. It is adorned with a Mosaic floor which was laid to mark the church’s Golden Jubilee in 1958. The mosaics represent the children who were part of the congregation in past years and depict numerous objects associated with children. The apse mosaic was made in 1921 and depicts the descent of the Holy Spirit.

Iconostasis and apse. Lamaria is a hall church, with a prominently projecting triangular apse and a relatively large ambulatory enveloping the church on the south and west. The church is built of neatly hewn limestone blocks. The ambulatory has tow doors: one is a low arched door cut in its south segment; the other, in its west portion, leads to the nave.

These include depictions of saints on the south wall of the chancel, and stencilled designs on the ceilings of the aisles. The pulpit is also highly decorated, with mosaic panels, and there is also mosaic in the reredos. The west window and in the windows of the apse contain stained glass. The glass in the apse was designed by Hardman & Co.

The painting of the main apse with a modified version of the Christ Pantokrator motif was carried out by the painter Peter Hecker in 1954, after the "oldest and most extensive" apse memorial to survive from Westphalia was destroyed in the Second World War.Hilde Claussen, "Romanische Wandmalerei in Soest. Neufunde und Restaurierungsmaßnahmen," in Gerhard Köhn (ed.), Soest. Stadt – Territorium – Reich.

Under the western side there is a cistern, whose roof rests on three columns. The dating of the edifice is uncertain. The polygonal apse and the niches in the apse are typical of the churches of Palaiologan foundation. The building is architecturally interesting because it is an example of reproposition of the early Christian Basilica form during the later Byzantine period.

This work cost £650 (). During the course of the restoration the architects discovered the foundation of an earlier canted apse at the east end.

The mosaic panel in the apse showing the bishop with Emperor Constantine IV is obviously an imitation of the Justinian panel in San Vitale.

Isla Frez (1984), 430. Apse of the monastery of Jubia, a major beneficiary of Pedro's religious patronage and which he eventually gave to Cluny.

Portico and campanile from the south-west. The nave. Decorations of the apse. Sculpture group of the Descent from the Cross (early 13th century).

Originally located in the choir, they were relocated to the apse chapels in 1863. Anton's is in the west end of the Engelbert Chapel.

The exterior elevations, except for the Mudéjar apse, have a reddish plaster, under which is seen, in some parts, another imitation plaster of brick.

The image of Christ Pantocrator, the all powerful, in the semidome of Monreale's apse is not terrifying, unlike its pictures in the art books.

Two open windows in the tower lit the apse, but weakened the defenses of the structure. The columns, moldings and the capital are Romanesque style.

Post reunification, in 1992 the roof was sheathed in copper. More work was done in 2003-4 on the western apse and the Holy Sepulchre.

In 1579, frescoes in the apse were covered over with stucco. In the 19th century, the cycle of frescoes, dating to the 1340s, were recovered.

The noble but modernized frescoes (Pinturicchio school) in the tribuna of the apse, representing the Discovery of the Holy Cross, are owing to his generosity.

In the transept stands a dome of Romanesque arches. There is a semicircular apse. Inside are the figures of Christ lying down and St Andrew.

In 1684, the decorator Charles le Brun modified the design of the choir, removing the rood screen and providing the apse columns with marble facing.

He painted in San Nicolo de Somaschi, in the apse over the choir. He also painted in Ferrara. He was murdered in Venice in 1631.

Inside are the remains of some ancient frescoes, including a fresco of Christ Pantocrator. In the original building, only the apse was decorated with frescoes.

The church was built in 1768 at the sole cost of William Wright. A gallery was added in 1838 and an apse in 1888–89.

There are three vaults between the west end and the crossing; a saucer dome over the crossing; one further vault over the crossing and a saucer dome over the sanctuary. The east end finishes in an apse completed in 1923. The murals and paintings are by Walter P. Starmer (1877–1961). He began with the Lady Chapel in 1920 and finished with the apse in 1929.

In 1749, Saint-Maur-des-Fossés was also merged with the new congregation. The new church was designed by Thomas Germain, known best for his work as a silversmith, and consisted of just a nave and an apse. The entrance of the church was in a circular projection decorated with Ionic pilasters. The apse housed the choir stalls of the canons surrounding the high altar.

Under the triumphal arch at the entrance to the central apse stand three wooden sculptures of the late twelfth century, which together form a crucifixion scene. They originally stood on the altar, but were repainted in 1874 and set in their present position in 1893. The apse itself was decorated between 1866 and 1872 by Bavarian and Austrian artists in a Romanesque revival style.

In the chapel on the left, on the right, is a fresco depicting the Last Judgement by the Torresani brothers. In the central apse is a polychrome statue of the Madonna and Child (1489), signed by Carlo l’Aquilano. The 15th-century frescoes depict the Madonna and Child and on the ceiling, Christ in a Mandorla. In the right apse is a 15th-century polychrome crucifix.

An elongated hall is divided into two chambers by a middle supporting arch and terminates in a semi- circular apse on the east. The apse characteristically narrows in towards the conch. The sole entrance is on the south and each wall, with the exception of the northern one, is pierced with a single window. The interior had once been frescoed; with time, they have mostly faded away.

The building follows the standard Romanesque style with a single rounded apse on the eastern side and a basilical nave of remarkable height. The exterior of the apse is divided into three panels by two decorative columns. The cornice is decorated with a set of corbels carved with animal heads, human figures and abstract motifs. The entrance to the church is placed on the western façade.

Interior view towards the choir The oldest part of the aisleless church is the nave, erected during the 12th century. The choir was added during the middle of the 13th century, and replaced an earlier considerably smaller choir and apse. The presently visible church lacks an apse, typically for churches on Gotland, and instead has a straight eastern wall. The tower is slightly older than the choir.

Remains of the nave The monastery church was constructed as a T-shaped basilica with its nave and adjoining aisles separated by pillars. All that remains of the original building is the western end which unusually has an apse. The only example of its kind in Catalonia, it is in line with the Carolingian tradition. The main apse opens into three smaller apses, symbolizing the Trinity.

Interior view towards the apse Egby Church is the smallest church on Öland. The present stone church was probably preceded by a wooden church. The oldest parts of the present building are the apse, parts of the choir and the southern wall of the nave, dating from the 12th century. The church was rebuilt during the late 12th and early 13th century into a fortified church.

Inside, the church features a single nave, with white-plastered vaults. The apse is much enlarged with geometrical decorations. On the whole, altars are three with two other niches. Some frescoes reproduce the scenes of the miracles performed by the Virgin; outstanding is the large original painting depicting the Madonna and Child placed in an onyx niche on the end wall of the apse.

The Church evidences architectural analogies with other Churches of the area. These Church were also built around the 12th century and include: ; Church of S. Antonio of San Fedele Intelvi; Church of S. Vittore di Bedero; and . These Churches are characterized by a Romanesque architecture and were based on three naves and one apse. The apse are all located at the end of the main nave.

The cupola was frescoed (1605) by Cristoforo Roncalli. A Martyrdom of San Stephan I and a Messengers of Constantine call on San Silvestro (1610) were frescoed in the apse by Orazio Borgianni. In the baptistry apse, there is a Baptism of Constantine by Ludovico Gimignani. The transept has a History of San Silvestro (1690) also by Gimignani, and a Madonna with Child by Baccio Ciarpi.

The stained glass in the apse windows dates from about 1870 and depicts scenes from the life of Christ. The wall of the apse is painted with the Ten Commandments and the Creed. The organ in the west gallery was given by Abraham Rawlinson MP around the time the tower was built. The organ retains its Adam style case, made of mahogany by Gillow's of Lancaster.

The present church was constructed in 1804 on the original site. Originally built as a plain, rectangular church, an apse was constructed later in the 19th century and an organ (in the West Gallery) was built by Brindley & Foster and installed in 1889. The Chapter House was added in 1934. After serious damage by fire in 1981 the apse was restored and the entire church redecorated.

The chapel is divided by buttresses into seven bays, each with a pair of tall arched windows. An apse is at the north end and a vestry is on the east side of the apse. Ten years after completion, the interior was painted with the golden insigna of Mary on a blue background. This work was painted over in the 1970s but has since been restored.

The Romanesque church has brick walls on its stone base and a conical roof structure. An apse is set into the east end of the building. There are semicircular windows on the sides of the entrance on the south-western side. The ancient round base, the entablature, the apse and the cupola all refer to Romanesque architecture in the middle of the 13th century.

Werner Jacobsen suggests it may also have been visible to pilgrims encamped in the atrium of the basilica.Jacobsen 1997:1108f. Contrary to the usual arrangement, the atrium was situated behind the church, close to the tomb in the apse, which may have been visible through a fenestrella in the apse wall. St. Martin's popularity can be partially attributed to his adoption by successive royal houses of France.

On the rainbow arch that separated the nave from the apse traces of a Romanesque paining from the second part of the 15th century was found with tracery. The nave was covered by a dome with a concentric arrangement of stones. The nave is 13 metres high, the apse is 6.8 metre high and the total height of the rotunda is approx. 15 metres.

Végh, Cserpák (1999) The Eastern façade of the building is dominated by the semicircular apse. A 3.5 m (11.48 ft.) tall, marble cross is embedded in the outer wall of the apse. It was erected in 1906 and commemorates four religious missions related to important church events and retreats. According to the records on the cross, the first retreat was between 17–21 March 1906.

There are two important monuments at Saisy le Bourg; the twelfth century Church and the Statue of the Madonna. In the year 2000 two signs were added to the RD 973 indicating "Église Romane du XII eme". The choir stalls, the bell tower and the apse are 12th century. The apse is built entirely out of local stone and vaults support the roof in roofing stones.

Three stained windows in the apse, to the memory of Emma Meredith, were also presented by Trumper. The current stained windows include Scenes from the Passion of Christ (circa 1870) in the sanctuary apse, Abraham by the artist Arthur J. Dix (1906) on the south wall of the nave, adjacent to pulpit, and "Virgin and Child" (circa 1950) on the north wall of the nave.

The church is lit by windows cut in the sanctuary apse and central west wall; a window in the south wall is blocked by an outer annex attached to the wall. Arched niches flank the window in the apse. There are two doors, on the south and west. The church has two annexes, both arched in the interior and covered with architraves on the exterior.

The original church building dated to the 12th century, but the present church is due to a reconstruction started in 1680 in a Baroque style. Some internal elements retain Gothic or Romanesque elements. The church has three naves and a large transept, with an apse located in the eastern end. Along the lateral naves are four chapels, further chapels open from the transept and apse.

It consisted of an apse on the eastern side of its wide circular nave. It consisted of a circular nave about six metres in diameter with a semicircular apse with a central window. The walls are one metre thick. Almost the whole church survived until 1757, when most of it was demolished to provide stone for the new parish kirk, which has also now been demolished.

Cardet occupied a rocky outcrop at the entrance to the valley. The church is at the eastern edge of the village, above a steep slope. The church has a single nave with apse, with a crypt below the apse (required due to the falling ground level). A sacristy was added to the southeast end of the nave, and a chapel was added to the north facade.

The Patriarchal Cathedral features a triple apse, the central part of which matches the apse of the original basilica on the site. The three-naved church follows the traditional Byzantine cross-in-square design. Built out of crushed stones and mortar with limited brickwork, it measures . The cathedral includes two narthices, a bell tower and two other premises attached to the south church wall.

Its masonry consists of alternate courses of bricks and stones. The original building had a triple-nave plan, but the only remains of the side aisles belong to the end wall of the western one. To the north side there is an arch and a semicircular apse made of bricks, which outside has a polygonal shape. The walls of the apse are indented by two niches.

The original frescoes of the 11th century, found under the apse plaster, are rather fragmentary. The 17th century frescoes, less monumental and less detailed than the earlier, remain only in the dome and the apse. The dome fresco depicts the Christ Pantocrator with six-winged seraphs and evangelists. Prophets are found between the tholobates, and Mary with Jesus among them; below the windows the archangels.

The interior of the building, which has yet to be restored, consisted of a single rectangular room measuring 17x11 m, with a central apse framed by a large arch at the far wall. The apse contained a podium for a statue, now lost, that likely depicted Celsus, although some scholars have suggested it was Minerva, goddess of wisdom. A crypt containing Celsus's sarcophagus was located beneath the floor of the apse. It was unusual in Roman culture for someone to be buried within a library or even within city limits, so this was a special honour for Celsus, reflecting his prominent role as a public official.

Semi-domes are a common feature of apses in Ancient Roman and traditional church architecture, and in mosques and iwans in Islamic architecture. A semi-dome, or the whole apse, may also be called a conch after the scallop shell often carved as decoration of the semi- dome (all shells were conches in Ancient Greek), though this is usually used for subsidiary semi-domes, rather than the one over the main apse.OED, Conch, 5: "The domed roof of a semi-circular apse; also, the apse as a whole". Small semi-domes have been often decorated in a shell shape from ancient times,Hachlili (1998), p.

The composition of the figure of the Virgin enthroned was probably copied from the mosiac inside the semi-dome of the apse inside the liturgical space.

Three windows in the apse (north, east and south) are by the stained glass artist Clare Dawson, pupil and co-worker of M. E. Aldrich Rope.

White City. p. 179. . Some were also later painted by Maletij Bozhinov. It was built with a five- sided apse, a bell tower and an iconostasis.

Interior columns are spolia. Arabic and Byzantine influences can be seen in some of the apse columns. Other arches in the dome recall architecture of Amalfi.

The eastern apse had ornate brickwork, and the building had Victorian-era stained glass. The building was a rare example of the work of Medland Taylor.

The apse has a fragmentary Deposition by Antonio Buonfigli. "The Places of Faith", Region Tuscany (section "Siena" (province); subsection "Siena", Page 6; Santo Stefano alla Lizza.

The layout recalls churches of Francesco Borromini. Behind the apse is an iron grate that separates the area reserved for the nuns.Comune of Correggio, entry on church.

The third church is a hall-church design, with a protruding apse and a wall inscription in Georgian, mentioning King David IV of Georgia (r. 1089–1125).

Born in Rome, he contributed along with Giacinto Gimignani and Orazio Gentileschi to the apse ceiling frescoes of the church of Santa Maria ai Monti in Rome.

Apse from Adelaide Street ca. 1910 William Webber – the third Bishop of Brisbane and previously a vicar in London – was instrumental in initiating the Brisbane cathedral project.

The apse space contains a shrine of Saint Mary MacKillop. On 5 February 1999, the church was re-dedicated as St Stephen's Chapel by Archbishop John Bathersby.

Other restorations date to 1960 (frescoes and ceiling), 1997 (mosaic pavement) and 2003 (apse and crypt pavement). The basilica in 1826 with the bell tower still visible.

The nave has two aisles. The chancel has transeptual chapels. The east end of the church has an apse that is a little higher than the nave.

The ceiling and apse frescoes (1934) were completed by Umberto Marigliani.Informazione ed Accoglienza Turistica del territorio di Bassa Bergamasca Orientale, Tourism website sponsored by province of Bergamo.

The predella depicts the Virgin and Child flanked by angels in the center and standing figures of the 12 apostles at the sides. The altarpiece stood before the apse of Old St. Peter's, which in the 14th century contained a mosaic of Christ enthroned between Saints. Peter & Paul. Thus the iconography of the front of the painting paralleled the apse mosaic in form but did not repeat it in iconography.

Some remnants of early carved capitals are now incorporated into the 12th-century north tower. However, Caunes is famed for the large 11th-century apse at the eastern end of the Abbey. This is a fine example of the simple Romanesque building style of the region and is clearest from outside the building. The apse, locally called the chevet, consists of two levels of pillars supporting a conical roof.

Of the medieval church, the apse and choir, and parts of the 15th century vaulting, still exist. The chancel arch is unusually broad and tall. There are remains of a wall which once separated the choir from the nave, a feature mostly found in medieval cathedrals but rarely in countryside churches like Lackalänga. The apse contains some of the most well-preserved early medieval wall paintings of southern Sweden.

The Gothic tabernacle The most important of the abbey buildings still extant is its church, dedicated to the Virgin Mary, whose construction began in 1208 with the transept and the apse. The edifice remained partly unfinished, due to financial and political troubles within the order. The church is built on the Latin Cross plan, with the nave ending in an apse housing the high altar. The aisles support the ceiling.

Interior The apse is decorated with blind arcades on two levels. The lower arcade is composed of four semi-circular arches while the upper one has been decorated with five arches, also semi-circular. The capitals are all sculpted but have suffered damage. The apse retains traces of Romanesque paintings, where two figures looking frontally, probably apostles, can be identified; the only surviving example in the province of Cantabria.

It is a work of Jacopo Torriti from 1295. The mosaics of Torriti and Jacopo da Camerino in the apse of San Giovanni in Laterano from 1288–94 were thoroughly restored in 1884. The apse mosaic of San Crisogono is attributed to Pietro Cavallini, the greatest Roman painter of the 13th century. Six scenes from the life of Mary in Santa Maria in Trastevere were also executed by Cavallini in 1290.

The church was an important medieval pilgrimage site. The church was damaged by fire in 1673 during the Franco-Dutch War leading to the destruction of the Romanesque apse. Replacing the apse, the chancel was built in 1688 with pointed windows in the Gothic style. In the spring of 1945, at the end of World War II, the church was badly damaged by a bomb which completely destroyed the nave.

In later years a Mudejar semi-circular apse was added. In the process of the addition the qibla wall and mihrab were lost. The use of the mudejar style provided a smooth transition from the original structure to the apse, as the addition uses the same style of decoration and materials as the original. The continuation of the arch motif isanimportant link between the two sections of the building.

The exterior of the church is relatively unadorned, and the same goes for most of the interior. The apse is decorated with the frescoes that were preserved from the tenth century renovation. The style of the artwork is typical of that employed by medieval Roman workshops. The apse conch is decorated with two registers; the top register contains the figure of Jesus flanked by four saints, Sebastian being on the left.

Partial view of the apse The large stained-glass quadrifore window in the apse was made between 1328 and 1334 by Giovanni di Bonino, a glass master from Assisi. The design was probably made by Maitani. Above the altar hangs a large polychrome wooden crucifix attributed to Maitani. Construction of the Gothic wooden choir stalls was begun in 1329 by Giovanni Ammannati together with a group of Sienese wood carvers.

The pieve of St. Lawrence. Madonna and Child fresco (detail) in the apse of St. Lawrence pleban church. The main sights are the castle, pieve (pleban church), and the baptistery of St. Lawrence (the bishop of Autun, dear to the Frank people), dating to the late 9th century. It is one of the main examples of pre-Romanesque architecture in Piedmont, often featuring a bell tower and a rectangular apse.

A short distance from the church are the remains of another structure that served as a funeral chapel. Only a semicircular apse remains standing with some of the roofing still intact. A sundial style design is subtly embedded in the interior portion above the apse at the apex of the half-dome, and a single window peers out below. A cemetery is located nearby, with a few khachkars that remain preserved.

A small female figure is looking from behind the curtain of a house. The three small medallions depict St. John the Baptist, Zacharias and an angel. Between these two large mosaics are smaller mosaics depicting the Young Christ with halo, and two martyrs with their martyr crown. In the northern apse these are probably Cosmas and Damian, in the south apse Ursus (or another bishop of Ravenna), and Severus.

In 2000, the church underwent major renovations and restorations for the sixth time. The altar was moved from the northern apse to the crossing of the apse below the dome. The church's pulpit and the basilica's monastery were also restored. Fund-raising activities to pay for the restoration of the basilica in preparation for the church's 25th anniversary as a Minor Basilica in 2014 were done since June 2009.

The chapel is located at the eastern end of the Basilica of Sant'Eustorgio. From the exterior it is a compact cubic brick building with a lower-roofed, projecting square apse. The main body of the chapel is surmounted by a dome with sloping tiled roof supporting a high lantern, framed by four turrets. The dome of the apse is protected by an octagonal structure, again capped with a tiled roof.

Apse, stained glass windows. A choir consisting of a single, extremely broad nave, and a polygonal apse of nine bays lit by nine Gothic windows 12 metres high, is extended to the west by a nave of three aisles. The main portal, richly ornamented, is located in the middle of the north side, under a porch. A belltower more than 57 metres tall stands opposite on the south side.

The interior lunette over the main portal depicts the Madonna and child between Saints Magno and Secondina (late 13th century). The ciborium on the main altar was completed by Vassalletto in 1267. The frescoes of the apostles on the apse walls were painted in the 17th century by Borgogna. While the frescoes in the half-dome apse with was completed in the 19th century by Giovanni and Pietro Gagliardi.

The sanctuary and the apse follow the presbytery. The apse is also surrounded by an ambulatory. (See Cathedral diagram for details on cathedral layouts.) A sundial at the courtyard A secondary building around a large non-rectangular cloister is connected to the south side of the cathedral. The cloister, whose south wall survived the fire of 1207 and is still from the original church, was parallel to the original church.

Santa Maria del Soccorso a Capodimonte is a Neoclassic-style Roman Catholic church in the Capodimonte Neighborhood of Naples, Italy. The interior is centralized and has a cupola frescos with a starry sky. On the lateral apse are frescos depicting the Death of St Joseph and the Agony of Christ in the Garden of Gesthemane. In the apse ceiling is a fresco of the Trinity by Vincenzo Galloppi.

St Mary's is a small church, consisting of a nave and round apse, north-east vestry, west bellcote, and south porch. It has been described as "minimally Romanesque." In the apse are three windows made by Charles Eamer Kempe, dating to 1906. They depict the Virgin and Child, Saint Luke, and Saint John, and were installed in memory of Blanche, the wife of John Charles Harford of Falcondale.

Interior view, Castle Semple Collegiate Church. The building is a simple oblong, terminating toward the east in a three-sided apse, and having a square tower projecting from the centre of the west wall. The forms of the double windows indicate that they are very late survivals of Gothic architecture. The other windows in the side walls are altered, but they do not present any features like those of the apse.

San Giorgio Maggiore is a basilica church located on the corner of Via vicaria Vecchia and Via Duomo, in central Naples, Italy. The apse of the church lies diagonally across the street from San Severo al Pendino. Facade. Paleochristian Apse, modern entry to church. Nave. Frescoes. A church at the site was built by the 4th century, and was initially known as "la severiana", after the bishop San Severo of Naples.

These niches, and the apse, are inlaid with red granite from Texas. The rear wall of these niches is carved with either oak leaves or laurel leaves, symbols of bravery and victory. Between these niches are rectangular doorways which pierce the wall of the Hemicycle and provide access to the stairways leading into the interior. A fountain with 200 jets of water is placed in the center of the apse.

The church is constructed in red Ruabon brick, with stone bands, and has Westmorland slate roofs. Its plan consists of a nave, a north timber-framed porch, a northeast vestry, a chancel with an apse, and a south chapel, also with an apse. It has a bellcote standing on the ridge of the nave rather than on a gable. At the west end are triple lancet windows flanked by buttresses.

Light is provided by narrow single mullioned windows, six in each side plus another in the apse and two at the end of the aisles. On the southern side is a bell tower, whose upper part is missing after crumbling down in an unknown date. It has a square plan and is decorated by false columns and Lombard bands, which are also present on the church's external sides and apse.

When the hexagonal hall was converted into a church, several modifications were made. The bēma was placed to the right of the original entrance, in the southeastwards-looking apse, and another entrance was opened up in the opposite apse. The original gate remained in use, but was narrowed at some later point. Two further gates were opened in the two northern circular rooms, to which two mausolea were eventually attached.

The cathedral has a form of five apses from inside and the massive dome rest of the on the half- pillar shaped apse projections. The transition to the dome circle is affected by means of pendentives. Altar apse bema and the western passage make the space greater inside. Interior is decorated with frescoes from the 17th century and the rich ornaments, reflecting the mastery of the late-Medieval Georgian ecclesiastic art.

The nave The arches of the main aisle are simple rounded arches. These arches are echoed in the arches of the gallery which are half of the main arches' height with central supporting piers. Narrower versions of these arches are also found in the apse. The aisle around the apse is separated from the sanctuary by pillars and by the chapels which open up off of the transept.

The pews date from the 18th century and have been altered during the 20th century. A few medieval murals have been preserved in the wall of the apse.

Frames and ornaments are hammered stone. The ornate interior includes many niches containing statues of the saints. carved patterns of quatrefoils. The apse comprises seven angled wall sections.

Horseshoe arches in the principal chapel (apse). The Santo Tomás de las Ollas hermitage is situated in the town with the same name close to Ponferrada, León (Spain).

In the south apse is the myth of Lycurgus who tried to kill the nymph Ambrosia, but was encircled by grapevines and attacked by a crowd of Maenads.

The apse has a large 16th-century fresco, flanked by columns, depicting a Crucifixion with Saints Gregory the Great and San Nicola.Commune of Pozzaglia Sabina, entry on church.

Southern corridor of the cloister. Apse added during the enlargement. In 1395, Santa María la Real de Nieva village had been founded by Royal order.A. M. Yurami p.

In 1748, the mudéjar apse and chapels were refurbished in a baroque fashion. recent restorations, have revealed some of the former architectural elements.Ayuntamiento de Requena, entry on church.

Apse area. Internal view of the nave. The Basilica of Sant'Abbondio is a Romanesque-style 11th-century Roman Catholic basilica church located in Como, region of Lombardy, Italy.

The Gothic Revival church was designed by Montreal architect Alexander Francis Dunlop. It is noteworthy for its false apse housing church offices and for its Casavant Frères organ.

Harry Sherman was dean. The completed cathedral includes an apse, ambulatory, priests and working sacristies, a bell tower and the St. Mary Chapel.. Cathedral Church of St. Luke.

In some of these interventions was the replacement of the stone, he must be very poor, in the apse, where they appreciate different finishes to the original stone.

The interior has four lateral chapels with 18th-century decoration. The apse has an 18th-century wooden choir stalls.Tourism Consortium for the Mandamento di Sondrio, entry on church.

História de Goa: (política e arqueológica). Asian Educational Services, 1990. Below the apse: Garcia de Sá (died in June 1549), in turn, bury, colonial Governor of Portuguese India.

At the alley's end is the bell tower, in Romanesque-Gothic style, and the apse of the church, which has a Gothic façade. Signorelli's fresco. Il Sodoma's fresco.

The Sagrada Família has a cruciform plan, with a five-aisled nave, a transept of three aisles, and an apse with seven chapels. It has three facades dedicated to the birth, passion and glory of Jesus, and when completed it will have eighteen towers: four at each side making a total of twelve for the apostles, four on the transept invoking the evangelists and one on the apse dedicated to the Virgin, plus the central tower in honour of Jesus, which will reach in height. The church will have two sacristies adjacent to the apse, and three large chapels: one for the Assumption in the apse, and the Baptism and Penitence chapels at the west end; also, it will be surrounded by a cloister designed for processions and to isolate the building from the exterior. Gaudí used highly symbolic content in the Sagrada Família, both in architecture and sculpture, dedicating each part of the church to a religious theme.

Remains from the first church, possibly from the reign of Constantine I, and earlier Roman houses can be seen in the lower parts, reached by a staircase in the sacristy. The ruins are confusing, but you can easily find the apse of the old church and you can see the remains of the martyr's shrine in middle of the apse wall. The church had an uncommon form; rather than the normal basilical plan with a central nave and two aisles on the sides, it had a single nave. On either side of the apse are rooms known as pastophoria, service rooms of a type uncommon in the West but normal in Eastern churches.

Santa Maria Nuova was enlarged in the second half of the tenth century, and then rebuilt by Pope Honorius III in the thirteenth century, adding the campanile and the apse, as well as being decorated with a mosaic Maestà, a depiction of the Madonna enthroned accompanied by saints. The belltower and apse are now located at the east end of former Roman temple, where the portico and entry stairs stood. Behind (East) of the apse and bell tower are a jumble of structures forming the former monastery with two small courtyards. Flanking the north of these structures and extending further west on both sides towards the Colosseum are the remaining outer columns of the massive ancient Roman temple.

Typical early Christian Byzantine apse with a hemispherical semi-dome in the Basilica of Sant'Apollinare in Classe Typical floor plan of a cathedral. The apse is shown in beige. In architecture, an apse (plural apses; from Latin absis: "arch, vault" from Greek ἀψίς apsis "arch"; sometimes written apsis, plural apsides) is a semicircular recess covered with a hemispherical vault or semi-dome, also known as an exedra. In Byzantine, Romanesque, and Gothic Christian church (including cathedral and abbey) architecture, the term is applied to a semi-circular or polygonal termination of the main building at the liturgical east end (where the altar is), regardless of the shape of the roof, which may be flat, sloping, domed, or hemispherical.

A third archangel, Raphael, is represented on the right of the semicylinder, perhaps as the introducer of the two donor clergymen who appear on the left of the apse.

In the Middle Ages, as altars came to be placed against the wall of the apse, the practice of placing the cathedra to one side (mostly left) became standard.

The painting in the apse was commissioned by Strozzi from Girolamo Troppa and depicts the Coronation of the Virgin with Saints Jerome and Antony.Geo Sabina website, entry on church.

At that time the main entrance was moved to face Piazza Navona. The apse and the transept were demolished in 1938 to open the current Corso del Rinascimento avenue.

A frieze by the latter, or by Pisanello, has now disappeared. The Pellegrini chapel also houses the grave of Wilhelm von Bibra. The church ends with a large apse.

The west end was completed in 1903 by Ernest Charles Shearman. The apse contained a painting by James Eadie Reid dating from 1910 “The Triumph and Apotheosis of Labour”.

The Romanesque stone church we see today was rebuilt in 1125 by the Lombard abott Agenolfo or Adenolfo. An earthquake in that era caused the upper portions of the church to collapse. The church once had a lower crypt, above an elevated presbytery and three radial chapels emerging from the apse. The perimeter of the apse had an ambulatory that allowed lay visitors to walk without disturbing the cloistered monks in the central choir space.

Initially a pipe organ filled the apse in the chancel. In 1919 the organ was placed in the back of the church and the “Altar of Peace” was built in the apse. The Gothic styled altar was carved by a German Prisoners of War from World War I. A new pulpit and communion rail were installed at the same time. The focal point of the altar was a painting of the Resurrection.

The east end has an apse. The dome of Svetitskhoveli was reconstructed several times over the centuries to keep the church in good condition. The current dome is from the 15th century with its upper part reconstructed in the 17th century, when it lost its original size and was reduced in height. The basic stone used for the Cathedral is a sandy yellow with trimmings, while around the apse window a red stone is used.

Another Gothic chapel was added to the south side of the apse in 1425. In spite of its late date, this chapel is similar to the earlier ones in architectural terms. The original nave of the church had three aisles, but after the 1755 earthquake the space was unified under a single aisle. One of the lateral chapels of the apse keeps the tomb of King Dinis, decorated with the recumbent figure of the king.

To the east, the chevet was composed of two rectangular apses framing a semicircular central apse. The two rectangular apses connected to the lateral aisles, and the south room was also open to the central apse, serving as a martyrium. The building bore a resemblance to the church of Qal'at Sem'anJean-Pierre Sodini, Jean-Luc Biscop, Qal'at Sem'an et les chevets à colonnes de Syrie du Nord, Syria, 1984, Volume 61, pp. 267-330, p.

Veng Church (Veng Kirke) was constructed some time after 1100, probably as a replacement for an earlier wooden structure. It was built of limestone blocks, as were many early Danish monasteries, in the Romanesque style. It had a flat timber roof, a single nave, a choir, and an apse with two transepts, each with its own apse. The outside of the church retains several carved stones and other decorations from the original building.

The apse was some distance to the east of the tower. Construction then continued westward from the apse towards the 12th-century tower, which eventually became the entrance to the collegiate church. There were frequent disputes between the chapter and the Bishops of Noyon, whose authority they refused to recognize. In the early 1220s Bishop Gérard de Bazoches placed the chapter under interdict, but in 1228 Pope Gregory IX rescinded the interdict.

Main gate The western facade of the church, decorated with blind arches and the finely sculpted, originally Romanesque portal is especially noteworthy and quite unique in Estonia. The church walls (1240-1270) are massive and the windows, coupled together, are narrow and tall. Contrasting with this is the apse, probably constructed after 1345, with its polygonal form and open character. Both the walls of the nave and the apse are supported by buttresses.

Built in the Romanesque style, the church consists of a nave, chancel, apse and a tower. There were originally two entrances, one for women on the north side (now bricked up) and the one to the south which still exists. Various construction materials were used, mainly fieldstone, while the doors and windows were bordered with limestone. Originally the apse probably had only one window, the remains of which can be seen on the outer wall.

The main element of the monastery is its church, which consists of a wide nave roofed with a barrel vault and terminated by a slightly narrower apse. The apse is also covered by a semicircular vault, and is decorated. There are blind arcades in groups of four between semicircular columns reinforced by brackets. The building's principal entrance is located on the west façade, and is constructed as a door with two arches.

Shoghakat is a domed single-nave basilica with a semi-circular eastern apse flanked on either side by narrow chapels. Some portions of the apse wall could possibly date to the 5th century. Four pendentives help make the transition from the square central bay to the octagonal drum and conical dome above. As in some of the other medieval Armenian churches, the drum and dome are situated off-center and to the west.

The reproduction of the frescos in the apse. The Oratory of Saint Stephen () is a Roman Catholic chapel in Mocchirolo in the town of Lentate sul Seveso, part of the Province of Monza and Brianza, Lombardy, northern Italy. The interior walls of the church once contained frescos that were removed and transferred to be housed the Pinacoteca di Brera in Milan. The frescos currently appear in apse are the reproduction of the original.

The paintings were placed on large wall surfaces and on plain, curving vaults. Often it is seen in a mosaic, where the focal point is the semi-dome of the apse with Christ the majesty in the centre. This is very characteristic of the mural painting located on the central apse in Sant Climent de Taüll. The mural painting of the figure of Christ wears a greyish, white robe with a blue mantle.

The triumphal arch at the apse is flanked by two porphyry columns. The mosaics of the apse from the 9th century depict Christ with two angels, and the twelve Apostles, with Moses and Elias depicted underneath. In the semi-dome, Pope Paschal (with a square halo) kissing the foot of the Blessed Virgin Mary, vested as a Byzantine noblewoman, seated on a throne with the Christ Child, and surrounded by a multitude of angels.

The Fuentidueña Apse, Spanish, c. 1175–1200 The Fuentidueña chapel is the museum's largest room, and is entered through a broad oak door flanked by sculptures that include leaping animals. Its centerpiece is the Fuentidueña Apse, a semicircular Romanesque recess built between about 1175 to 1200 at the Saint Joan church at Fuentidueña, Segovia."Crucifix". Metropolitan Museum of Art. Retrieved May 2, 2016 By the 19th century, the church was long abandoned and in disrepair.

The interior. The church consists of a single nave, with a circular apse forming two side-chapels. The frescoes of the central nave by Baldassare Croce represent six scenes from the life of Susanna found in the Book of Daniel. The frescoes on the curved side of the apse show Susanna being threatened by Maximian, but defended by the angel of God, and to the right, Susanna refusing to worship the idol Jupiter.

The altarpiece (early 16th century) The choir and its apse-like projection to the east are the oldest parts of Kräklingbo Church. This part of the church originally formed the nave and choir of an earlier church; an inscription mentions its inauguration in 1211. The present nave and sacristy were built around 1300, and thus incorporated these earlier elements. The east window in the apse-like projection dates from the reconstruction circa 1300.

In 1879, the church was shortened to allow the construction of the current Via Mazzini; in the occasion, the Gothic façade was attached to the apse. San Giovanni in Conca was then sold to the Waldensians who, when the church was demolished (1949), rebuilt the façade on their new church in Via Francesco Sforza. Works of demolition were however halted just before their end, leaving only the crypt and remains of the apse.

Built of local fieldstone with limestone framing around the windows and doors, the church initially consisted of the nave, chancel and a half-domed apse. Traces of the original rounded windows highly positioned in the nave and apse can still be seen. Around 1500, the Late Gothic tower and porch were added and the flat ceiling in the nave was replaced by cross-vaulting. The windows were later adapted to the positioning of the vaults.

The church choir and orchestra sit on the floor opposite the apse. A choir is raised 30 cm above the floor and includes stairs of four different types of wood. Iron stairs lead there from the right entrance of the chapel. The apse walls include notable murals: the front depicts the Last Supper, the right wall Calvary, and the left is used with the right to form a diptych about the Expulsion.

The interior consists of a nave flanked by two aisles. The central nave and the left aisle end both with an apse with a small window. The right aisle's apse has probably been demolished to make room for the bell tower, an elegant structure with mullioned windows in its upper section. The inside of the church is divided into a nave and two aisles by rectangular pillars with rounded arch; the ceiling is a truss.

This involved several steps. Under the direction of architect Stephen Viguier, the apse and the bell tower was sketched in 1494, and the first two bells were cast in 1500. The choir of flamboyant Gothic was completed in 1537 and the following year, it was the turn of the frame to be raised. The loft was built around 1530–1535. In 1541, Guy, Bishop of Megara, blessed the altars of the chapels of the apse.

Mercy Seat murals in the apse, altered from an earlier Majestas The church has murals from various periods. In the apse and on the east wall of the nave there are fragments of late Romanesque decorations from the second half of the 13th century. Immediately after completion of the ceiling vaults in the 15th century, their ribs and arches were decorated with ornaments. Remains of these can be seen in various places.

The entrance portal has deteriorated frescoes by Rutilio Manetti. The church still houses frescoes of the Life of St Pietro by Apollonio Nasini, the son of Giuseppe Nicola, on the lateral walls, and an Annunciation attributed to Bartolo di Fredi in the apse. Other fragmentary frescoes in the apse are attributed to unknown 13th century painter(s). The inventory of 1840 by Romganoli lists a Glory of St Joseph (1634) attributed to Simondio Salimbeni.

In the original construction plan the building had an even three-part structure: a church with a pentahedral apse, a refectory and a bell tower stretching along one axis. At the beginning of the 20th century the western part was significantly expanded by the addition of side chapels. The altars partially covered the bottom of the church dimension. A quadrangle church is divided by a cornice at the apse level and a refectory.

The nave terminates in a long apse between the tabernacle on the north side and a statue of Saint Mark by F. Magni on the south side. The apse contains the presbytery which is raised on several steps above the body of the church. At its centre is the high altar over which hangs a crucifix, and the bishop's throne (cathedra). The back wall is decorated by a band of modern mosaics by V. Cinti.

The apse is surrounded with bands containing medallions of apostles and prophets, and two contemporary figure, "Abbot Longinos" and "John the Deacon". The mosaic was probably created in 565/6.

St Lawrence's Church is a Romanesque church in Haut-Ittre. It has preserved its sandstone tower, apse and central nave from this period. St Peter's Church in Virginal.Church of St. .

Interior restoration included a new altar, carved furniture, balconies and a pulpit. The bricked-up windows of the apse were restored. New stained glass windows were designed by Olexandr Yurchenko.

The church has a facade decorated with four Corinthian pilasters topped by a triangular pediment. Louis Janmot made the painting depicting the Last Supper which is placed in the apse.

The interior is in Gothic style, from different phases. It houses a Baroque organ. Exteriorly, of the Gothic period only two portal are visible today, as well as the apse.

The church is built from polished sandstone with a use of limestone solution. It has one dome. It is cross-shaped in plan, with an apse from the eastern side.

The cruciform limestone building has a slate roof. It was built in the Early English Gothic Revival style. There is an octagonal apse. The north transept is supported by buttresses.

Currently only the bell tower remains, along with the entrance arch of the old church, part of the apse (hidden by vegetation) and remains of the walls of different dependencies.

Aisles are suggested by suspended vaulting with gilded pendants. The lancet windows are mainly furnished with colored glass rather than figurative representations. The sanctuary is marked by a polygonal apse.

Rectangular one nave corpus fits the small east-oriented presbytery enclosed by a semicircular apse. The western facade possesses two towers. The nave is covered by a flat wooden roof.

The ancient stone dressings in the east window were preserved during the rebuilding. The remains of what may be an original piscina, which lacks its basin, is in the apse.

The church is lit with two windows, cut one each in the apse and west wall; daylight through them is directly shed on the extensively frescoed west and east walls.

The large statue of the risen Christ, located above the baptismal font, was originally located at the center of the apse, where it is now instead of the large crucifix.

Chiesa della Panaghia Semicircular apse Sideview of the church Panaghia is a small Byzantine church situated in the old town centre of Rossano, a frazione of Corigliano-Rossano, Calabria, southern Italy.

On the ceiling of the apse is a painting by Herman Saloman depicting the Angels Appearing to the Shepherds. The two-manual organ was built in 1918 by Poyser of Chester.

The rose window of the facade was also rebuilt. A Gothic bell tower over a transept arm was removed, as well as the sacristy on the Northern side of the apse.

He also painted animals in imitation of Roman mosaic in the apse of the abbey church.A. Lambert, "Arnold Scholasticus", Dictionnaire d'histoire et de géographie ecclésiastiques, vol. 4 (Paris, 1930), 572-573.

The gabled ends are stepped, and there is a corbel table at the eaves. The interior features three naves separated by columns, a rear gallery, and a skylight over the apse.

The abbey's apse and bell tower. The San Giovanni in Fiore Abbey (Italian: Abbazia Florense) is an abbey located in the Province of Cosenza, in the Calabria region of southwestern Italy.

The ceramic altartable is the work of Herman Kahler. The interior of the apse features a relief by the sculptor Carl Mortensen depicting Christ on the Cross, surrounded by worshipping angles.

In 1900–02, the brick internal walls were refaced with stone and the apse was redecorated. The porch was rebuilt in 1925. The north and south galleries were removed in 1972.

It has a rectangular barrel vaulted nave with a three-sided apse and dates to the late 16th century.Slovenian Ministry of Culture register of national heritage, rkd.situla.org; accessed 9 July 2020.

March 7, 1997. As planned, it served as a retaining wall for the hill behind it.Ashabranner and Ashabranner, p. 26. In the center is an apse across and high.Peters, p. 282.

Apse mosaic in the Santa Maria Maggiore The last great period of Roman mosaic art was the 12th–13th century when Rome developed its own distinctive artistic style, free from the strict rules of eastern tradition and with a more realistic portrayal of figures in the space. Well-known works of this period are the floral mosaics of the Basilica di San Clemente, the façade of Santa Maria in Trastevere and San Paolo fuori le Mura. The beautiful apse mosaic of Santa Maria in Trastevere (1140) depicts Christ and Mary sitting next to each other on the heavenly throne, the first example of this iconographic scheme. A similar mosaic, the Coronation of the Virgin, decorates the apse of Santa Maria Maggiore.

Mass is celebrated in the minor basilica of St. Mary in Bangalore. The assembly can be seen facing the altar from one side, while the priest, faces it from the other side. Versus populum (Latin for "towards the people") is the liturgical stance of a priest who, while celebrating Mass, faces the people from the other side of the altar. The opposite stance, that of a priest facing in the same direction as the people, is today called ad orientem (literally, "towards the east" − even if the priest is really facing in some other direction) or ad apsidem ("towards the apse" − even if the altar is unrelated to the apse of the church or even if the church or chapel has no apse).

The church lies at the northeastern foot of the Trapezitsa and Tsarevets hills, on the right bank of the Yantra River, outside the city's medieval fortifications. Architecturally, it has a pentahedral apse and a cross-domed design with a narthex and a fore-apse space. It was once part of a large monastery and belonged in its southeastern part. The church's exterior is decorated with blind arches and colourful ornaments: glazed rosettes, suns, rhombs and other painted figures.

Old Cathedral floor in its Origins. In the parts that today are still standing, the Romanesque origins are visible, although sometimes the solutions used were close to proto-Gothic. It responded to the type of Romanesque church with three naves, with a larger central apse and two smaller ones on the sides, although currently there are three naves without any apse. The highest central nave maintains its original ribbed vaults with tiercerons and simple in the aisles.

Interior Interior The interior is in great contrast with the rough and bare aspect of the exterior. A renaissance design is attributed to Baldassare Peruzzi. The church was enlarged in the fourteenth or fifteenth century, as seen in the interior of a Latin cross, where the Gothic style of the transept and apse joins the Renaissance style of the three aisles. The Renaissance style does not continue into the transept and apse, which are in the Gothic style.

The church of San Giulio had its first foundation as a chapel around 1350–1380, proven by an inscription of the tomb dated to 1386. The chapel was expanded in 1500 with a central nave and side chapels. In 1880 it was further expanded and additional chapels created. The parish priest, Don Luigi Testori, decided in 1930 to erect a new apse, presbytery, two transepts and two sacristies, after the demolition of the oldest part (the apse).

The church was described in contemporary writing as "a rather bold departure" from normal church design of the period. The church is long and wide, and is made of limestone (quarried in Longmeadow) resting on a granite foundation (quarried in Monson). The rounded apse faces Maple street, and is topped by a conical roof with red banding in the slate roof. The apse has nine windows with Gothic arches shaped of alternating light and dark stone.

Descending, we see the events of salvation history, until finally near ground level, we find ourselves in the company of our forbearers- the saints. This suggests that the church is the union of heaven and earth as well as the past and the present. The crucifixion is portrayed in the northern apse, while in the southern apse we see the events leading to the resurrection. This placement emphasizes that there are two aspects to a single reality.

The church was built in 1351 as a three-nave, high hall with a pentagonal chancel and apse covered with a cross vault. The chancel was completed in 1381, and the apse and nave in 1401. In 1350 the church was taken over by the Franciscan order expelled from the Church of St. Vincent. However, the number of brothers continued to dwindle rapidly due to the Reformation and already by 20 October 1534 they had left the building.

According to the Armenian historian Vardan Areveltsi of the 13th century, Gharghavank was built between the years 661 and 685 by Prince Grigor Mamikonian. The church is a centrally-planned aisled tetraconch type with eight semicircular apses radiating from the interior octagonal space. Exteriors of the eight apse walls alternate with eight rectilinear panels containing wide triangular niches which divide each of the apses. The thick apse walls and pendentives supported a drum and cupola above.

The interior is highly decorated with many of its images referring to childhood. The central dome is "painted with musician angels around the rim and pelican in piety" in its centre. The apse windows are stained glass designed by Clayton and Bell, and depict the childhood of Jesus Christ. The ceiling of the apse is decorated with eight angels (Faith, Truth, Patience, Purity, Obedience, Charity, Honour and Hope) with a central roundel depicting the Lamb and flag.

The frescoes can be found in the apse and in the southern nave of the Church. The apse is dominated by a basin, which is the most important feature of the complex as it highlights the altar and catches the eye of the visitors whom enter the church. The frescoes have been subject to several changes and were replaced by new frescoes with more modern features. This coverage can be seen by the different thicknesses on the wall.

The interior is rectangular in plan with a center aisle. The semicircular apse at the south end of the building is partially cut off from the nave by banks of organ pipes at either side. A narrow rectangular open narthex at the north end with a small enclosed winder stair on the west wall leads to the balcony. The narthex is 10' x 44'8"; the nave is 60'6" x 44'8"; and the apse has a 22'4" radius.

The building consists of a Romanesque nave, chancel and apse, all in local limestone. The unimpressive fieldstone tower at the western end of the nave was probably added in the late 16th century although it is first mentioned in 1624. The porch on the south side was completed in 1864, doubtless on the site of an earlier Romanesque structure. There are traces of earlier windows in the apse and chancel although they have now been bricked up.

The monastery building, built of blocks of hewn reddish stone, is a well-preserved cross-domed church, inscribed in a rectangle, with the dimensions of 15 x 24 m. Noted for ascetic design and paucity of decorations, the church has the altar with an apse and three rectangular transept arms. The prothesis and diaconicon are also apsed. The dome rests upon wall corners of the apse on the east and two free-standing pillars on the west.

The high altar, which until the 19th century was in the middle of the nave, is now in the south-western apse; the opposing apse has a wooden catafalque of the 17th century, housing polychrome statues of the martyrs Gabinus, Protus and Ianuarius. The aisles led to the anti-crypt, in Renaissance style with statues of martyrs, and the crypt, which houses ancient Roman sarcophagi; the latter in turn house remains attributed to the Turres' martyrs.

Church of St. Clement of Tahull, Accessed February 20, 2012. In addition, the central apse has three arched windows located on ground level and two portholes on either side of the central apse. In the south corner of the church there is a tall, slim bell tower that has a square plan with a prism-shaped roof. The tower has seven floors (base floor plus six), where the base is the foundation of the entire structure.

This made Dolochopi the largest basilica known in Georgia and one of the largest in the Caucasus and neighboring regions of Eastern Christendom. The division of the naos into three naves was effected by five pairs of cruciform columns. The central nave terminated in a horseshoe-shaped sanctuary apse on the east. The apse was furnished with a four-stepped synthronon—a bench reserved for the clergy—a feature unattested elsewhere in Georgia except at Chabukauri.

The major sight in the village is the parish church of Saint Andrew dating back to the Árpád dynasty: it has a double apse. In one of apse stands a statue of the patron saint of miners, Saint Barbara. In the other stands a statue of the patron saint of the church, Saint Andrew. The landowners of the village settled miners from Merano, in northern Italy, and their religious tradition is probably reflected in these apses here in Hungary.

The church of Sant Feliu is situated slightly to the north of Barruera. The village lies at a strategic point where the valley widens out and was connected with a nearby abbey in the Middle Ages which has now disappeared. The church has a single surviving nave of the three originally built, with a barrel vault and a semicircular apse. It has a square transept and apse to the south and square chapel to the north.

The parish had a castle designed to protect Kolding Fjord close to the church. The castle Høneborg is today nothing more than a small hill used for livestock. This castle has had a huge influence on Taulov Church, and the two royal sisters who were residents of the castle are buried in the apse of the church. The circular apse is in local history said to be the only one of its kind north of the Alps.

San Nicolas de los Servitas Church, Madrid Successive restorations that this building has undergone over the centuries have conditioned its current appearance. Built on a three naves, apse has a 15th-century, built with hewn stone from small outcrops of Upper Cretaceous, except the window is illuminated inside with granite recercada. This comes from quarried stone areas The Molar or Torrelaguna (Quarries Redueña). It also highlights the beautiful Mudejar covering the nave and the apse of the Gothic vault.

Furthermore, Hofterup Church contains preserved Romanesque murals on the walls of the choir and the apse; these date from the late 12th century. They were probably made by the same artist that made the murals of Finja Church in Hässleholm Municipality. Hofterup Church is the oldest and best-preserved church of its kind (built with an apse) in Skåne. The vaults of the nave date from the 15th century and are decorated with late-Gothic murals.

The crossing (dark stone ceiling), viewed from the nave. The apse is in the background Between the nave to the west and the apse to the east is the crossing, designed by Rafael Guastavino. The interior of the crossing includes four massive granite arches, which in the original Heins & LaFarge design were originally intended to support the massive tower above it. When completed in 1900, the arches were described as the "crowning glory" of Morningside Heights.

The altar apse has a semicircular shape, with a deacon room on the south side and niche for the table of oblation (where the Holy Communion is prepared, during the Divine Liturgy).

The monastery and the church were sold and demolished in 1809, only the ruined apse with fragments of the choir remaining. In 1897 a monument was erected nearby in honour of Caesarius.

The central apse arcades have windows and a frieze. The bell tower is square and contains two floors. A second level has two arched windows on each side. The roof is hipped.

Behind the wood carving of the crucifixion and covering the entire wall of the apse are polychrome, terra cotta, ornamental partitions of the Four Evangelists and Archangels St. Raphael and St. Michael.

The rear wall of the apse was decorated by painter Hermann Bauch. The storage room, which was conceived to permit the holding of cremation ceremonies, has space for up to 160 people.

The cathedral reflects features of Baroque and Classicism. Its plan is rectangular. It has one tower and a three-wall apse. The cathedral's nave is bordered by two aisles, separated by piers.

Woolwich Garrison Church Trust on stgeorgeswoolwich.org. Further plans entail restoration of the pulpit and reinstallment of alabaster panels in the apse, which have been kept in storage.Second Phase Conservation Works on stgeorgeswoolwich.org.

Circa 1779, she alone completed the frescoes in the apse at Roncegno (St Paul on the Road to Damascus and Episodes in the Life of St Peter).Istituto Matteucci, short biography.Trentino Cultura.

The church with three naves measured 35x21 metres. The external facade of the apse is three-sided: the inner facade is semicircular. The entrance to the atrium is on the north side.

Belfry, refectory and the apse are crowned by small cupolas with crosses. Semicircular window openings of the refectory are decorated with decorative plaster. The temple is designed to hold about 500 worshipers.

The church is a single apse construction with a painted wood roof and notable frescoes. In 1682 the large bell tower was struck by lightning and the burned out roof was never replaced.

A nearby small church is a hall church design, with the dimensions of 4.7 × 3.7 m, built of cobblestone. It is a late medieval structure, with a semicircular apse and the southern doorway.

Façade and bell tower of the church abbey. The apse. San Liberatore a Maiella is an abbey and church in the territory of Serramonacesca, in the province of Pescara, region of Abruzzo, Italy.

It has a single nave with groin-vaulted ceiling. The square apse, contain typical Templar architectural motifs such as the cosmological three crosses and nine stars, is introduced by a large triumphal arch.

Originally, three sides of the church (only northern and southern walls remain) had upper floor galleries reserved for women. The fourth side is finished by a typical Byzantine semicircular and half-domed apse.

The north window of the apse was produced by Ninian Comper in 1902. It is not to be confused with St James's Church at Eve Hill in nearby Dudley, some two miles away.

The apse of the church in Mudéjar style The Igreja de Castro de Avelãs is a National monument of Portugal. It is located in Bragança Municipality, in the parish of Castro de Avelãs.

The chapel to the east has three > apses. The nave 18 feet 3 inches diameter, the aisles 15 feet 6 inches. The > length inside from the back of the apse is 64 feet.

Interior walls are flat except for the semi-circular apse located directly across from the main portal. Very little decoration adorns the church other than some cruciform relief found on the exterior walls.

XII and which has a patio with three galleries. Behind the monastery there is the church of the hospital of Saint Julia “Sant Julià”, with one nave and no apse, dating from c.

The surviving mullioned window of the apse. San Giovanni in Conca is a crypt of a former basilica church in Milan, northern Italy. It is now located in the centre of Piazza Missori.

The interior of the church is of a single aisle, Latin-cross design with a rectangular apse. The refectory contains a masterwork fresco of the Last Supper (1519-1527) by Andrea del Sarto.

The two side apses are very simple and serve to accentuate the subtleness of the main apse architecture. The north tower predates the south tower but both were constructed in the 12th Century. The former has three levels of double, round arched openings on each face whilst the latter has just one high level of double arched openings. These are enhanced by the semicircular apse-like chapels at their base, the north chapel containing the relics of the four Caunes martyrs.

St. Paul's Church () is a Reformed Church in Basel, Switzerland, part of the Evangelical-Reformed Church of the Canton Basel-Stadt. The church was constructed between May 1898 and November 1901 by Karl Moser (1860–1936) and Robert Curjel, and features a Neo-Romanesque architectural style. The apse is fitted with a stone pulpit that is raised behind a stone communion table. The apse also features a gallery, with a central arch behind the pulpit, in which the organ and choir are placed.

Inside the basilica there is a very fine episcopal chair with Cosmatesque decoration from the 13th century. The church was heavily restored in the 1930s when frescoes were discovered on the side walls from the 9th to 14th centuries. The Baroque frescoes in the apse and the triumphal arch were painted by Anastasio Fontebuoni in 1599. The triumphal arch is decorated with the figures of Ss Paul and Peter while in the apse we can see St Balbina between other martyrs.

The building plan follows the standard Romanesque style, with a single rounded apse on the eastern side. The layout is basilical, and a large square tower covers the crossing. The tower can be accessed by a staircase that ascends through a circular shaft attached to the southern wall. The exterior of the apse is divided into three panels, each of them decorated by a window with typical Romanesque ornaments in the arches and framed by columns with carved capitals on each side.

In the apse mosaic of Sant'Agata dei Goti (462–472, destroyed in 1589) Christ was seated on a globe with the twelve Apostles flanking him, six on either side. At Sant'Andrea in Catabarbara (468–483, destroyed in 1686) Christ appeared in the center, flanked on either side by three Apostles. Four streams flowed from the little mountain supporting Christ. The original 5th-century apse mosaic of the Santa Sabina was replaced by a very similar fresco by Taddeo Zuccari in 1559.

A gallery on the north end is supported by two cast-iron columns and has recessed wood paneling. An apse at the south end surrounds a raised former altar area. At the center of an apse is a doorway to the office, which has plastered walls with bookcases built into them, as well as a stone fireplace. When built, the main entrance was through a central round arch at the front, which was topped by a pediment surrounded by Doric pilasters.

The church has the classic features of Romanesque architecture; it has a rectangular nave terminated at the southern end by a semicircular apse. Sculptural ornamentation of the church includes the doors, located on the western side of the church and in the apse. The west door has a semicircular arch with two semiarches and screens that rely on separate columns. These columns are formed by shafts supported on bases that have carved lilies forming the columns' capitals, which are decorated with plant motifs.

In the apse of the nave is the high altar, with an icon of the Virgin with a Child, a copy of a Byzantine original in the sanctuary of Biancavilla. Behind the altar are an 18th-century wooden organ and a wooden choir. The left aisle, in the apse area, houses the Holy Sacrament Chapel, with a marble altar. The vaults and the dome were frescoed in 1896 by Giuseppe Sciuti with scenes of the Life of Mary, Angels and Saints.

The interior, viewed towards the chancel, with the rood cross hanging in the chancel arch The nave is divided into four bays, its vaults supported by a single pillar that is placed in the middle of the church. A wide chancel arch divides it from the chancel and the apse. Fragmentary remains of murals exist in the apse and in the ground floor of the tower. Among the furnishings, the baptismal font is the oldest, dating from the late 12th century.

The apse, decorated with some of the oldest Romanesque frescos in the German sprachraum The church was built at the beginning of the 13th century. Before the church was built there was an ancient Roman place of worship dedicated to the goddess Isis on the spot. The first church consisted of a rectangular nave and an apse. A Gothic southern aisle was added in 1440 and only in 1500 was the sacristy on the northern side of the church added.

The apse, chancel and nave are built of brick in the Late Romanesque style on a double sloping plinth with pilaster strips at the corners and saw-toothed cornices at the top. The apse is divided into three sections with narrow pilaster strips. The bevelled window to the east has been opened up and the two others reconstructed in 1911 when the church was restored. On the south wall, a small, sharply pointed and slightly projecting priest's door can be seen.

The interior has a nave and two aisles, covered with groin vaults. Of the Romanesque church only parts of the apse remain, while of the original Early Christian building, remains have been excavated also under the apse. To the right side of the nave, the church has chapels commissioned from the 14th century onwards by the main families of the city. The first from the entrance is of the 15th century and has a Renaissance sepulchre and a triptych by Ambrogio Bergognone.

The close of Lippi's life was spent at Spoleto, where he had been commissioned to paint scenes from the life of the Virgin for the apse of the cathedral. In the semidome of the apse is the Christ Crowning the Madonna, with angels, sibyls, and prophets. This series, which is not wholly equal to the one at Prato, was completed by one of his assistants, his fellow Carmelite, Fra Diamante, after Lippi's death. Lippi died in Spoleto, on or about 8 October 1469.

An ambulatory runs around this platform and into the chancel and apse, both added in the 14th century. An additional ambulatory, in the form of a porch, runs around the exterior of the building, sheltered under the overhanging shingled roof. The floor plan of this church resembles that of a central plan, double-shelled Greek cross with an apse attached to one end in place of the fourth arm. The entries to the church are in the three arms of the almost-cross.

The other openings are located on the south side and on the access tower. The facades of the church do not have any decoration, but the apses have simple Lombard decorations and are built with stone and brick. The central apse on the exterior is decorated by groups of four arches, separated by half columns. The apsidioles (apses on either side of the central apse), have groups of three arches instead of four, with each of the apses having one window each.

The Bieti church, measuring 11.8 × 17.7 m, was built of dressed stone in a cross-in-square plan, with the centrally located and outsized dome and semicircular apse with the deep bema. The dome, all of the arches and vaults as well as the upper part of the apse have collapsed, their ruins filling up the interior. Only the conch of the sanctuary and the pastophoria survive. The eastern wall still retains fragments of medieval frescoes influenced by the late Byzantine Palaeologan art.

The handsome, asymmetrical, twin-spired Gothic Revival St. Joseph's Church was designed around 1888-1890 by architect F.E. Page. The building has a tall, end-gable- roof, rectangular mass with a polygonal, hip-roof apse at the northeast end. One-story, shed-roof side aisles continue around the apse as an ambulatory to connect to a projecting, rectangular chapel. The three-story, shorter corner tower has paired lancet windows, battlemented string courses, louver-filled Gothic arches, and is topped by a broach spire.

Apart from the two tombs inside the church (Karađorđe’s in the southern apse; and Peter I in the northern apse), there are 26 other members of the dynasty whose eternal place of rest is in this mausoleum. Six generations of the Karađorđević family have been buried in this church: #The first generation: Marica Živković, Karađorđe's mother. #The second generation: Karađorđe (in the church) and his wife Jelena Jovanović (1764–1842). #The third generation: Karađorđe's son Alexander and his wife Persida Nenadović (1813–1873).

These were generally spacious, and the interior was divided by two or four rows of pillars, forming a central nave and side aisles. At the end was a raised platform, often situated in an apse, with seats for the magistrates. In basilica-style Christian churches the apse was reserved for the bishop and his clergy; the faithful occupied the centre and the side aisles, and between the clergy and people stood the altar.Encyclopædia Britannica, "Basilica" Originally a church had only one altar.

In 1952 a rebuilding scheme proposed by the architect Kenneth Lindy failed to gain sufficient support. In 1970 the upper parts of the walls were demolished and a corrugated canopy roof was erected to cover the remainder of the apse. Photos from the 1960s show that the apse windows were still in place then, as well as the upper parts of the columns supporting the chancel arch and parts of the pulpit.Compare photographs 358 and 359 in: Saint & Guillery (2012), p. 349.

The Hemicycle is high and in diameter. In the center of the Hemicycle is an apse across and high. The Great Seal of the United States is carved in granite in the center of the apse arch, while to the south is seal of the U.S. Department of the Army and to the north is the seal of the U.S. Department of the Navy. Six circular niches (three to the south and three to the north) deep are distributed along the facade.

Around 1460, the arches were decorated with vines by the Fjälkinge Workshop which probably also altered a mural of the Majestas in the apse to one of the Mercy Seat. Traces of the original Majestas rainbow can still be seen. The murals in the apse and on the vaults were improved and extended from 1500 to 1515 by the Åle Workshop which worked around Aarhus in Denmark. The same workshop probably also painted the paintings in the vestibule under the tower.

The church had a basilica plan, with a nave and two aisles with three apses; the interior was divided into five bays, of which only the last one preceding the apse area survives. The area without the ceiling is now home to a cemetery. The central apse was frescoed in 1795 by the Swiss painters Baldassarre and Vincenzo Angelo Orelli. Notable are the sculpted capitals, with geometrical, animal or human figures, while the residual exterior decoration includes small columns and Lombard bands.

A single barrel vaulted nave with a slightly wider apse. Three windows at the east and one at the west. The entry to the church, in most surviving cases, is in the northwest side.

The park features a layout that mirrors the neighboring Cathedral of the Immaculate Conception. The brick sidewalks mirror the walls and nave of the cathedral while a semicircular colonnade featuring fountains mirrors the apse.

He also decorated a number of Danish churches including the Church of Our Saviour, Esbjerg, (1929), St John's, Vejle, (1934), Jerslev Church (1944), and the apse vault of Sct Nikolai Church in Holbæk (1930).

The lower register contains the Virgin Mary, flanked by angels and female saints. The lowest part of the apse was altered and repainted with the busts of Saint Sebastian, Saint Benedict, and Saint Zoticus.

Some scholars have seen in part of a round unfinished, other similarities with the construction of Santa Maria and Donato in Murano. The Romanesque bell tower Gothic, dated 1296, stands adjacent to the apse.

The layout of the church was of a Latin cross with a double apse and an 11th-century bell-tower. Most of the decoration of the stone were removed.Parchi di Lazio entry on ruins.

The vault is semi-cylindrical. The semi-round apse has a small narrow window. It was built of stones and white plaster. The whole interior as well as the western external wall are painted.

There are no indications whether either arcosolium at one time held remains. The posterior wall also includes a slit window open to the apse and Maltese cross above the main body of the nave.

The church has a single nave with two lateral chapels. The bell-tower is inserted between the transept and apse. The Baroque altars demonstrate 18th-century stucco decoration. The organ was built in 1707.

The image of Christ Pantocrator from the church, originally in the main apse and now conserved in the National Art Museum of Catalonia (MNAC), is acknowledged as one of the masterpieces of Romanesque art.

The Via Crucis is Vasco Nasorri: the same is a great ceramics (1986), the apse, with the representation of an illuminated manuscript opened. At the main altar a Last Supper by E.Hortis in 1981.

The paintings are a Trompe-l'œil depiction of a domed ceiling, with the walls painted to give the illusion of a much larger choir/apse space. The ceiling art has experienced some water damage.

San Giuseppe da Copertino is a Roman Catholic basilica church in the town of Osimo, region of Marche, Italy. Apse of church Ecstatic levitation of San Giuseppe at the site of Loreto by Bocchetti.

The altarpiece of the church is from the 1620s, and its central subject is the Last Supper. The pulpit dates from 1580. The stained glass window in the apse is made in 1970 by artist .

The library and the archives were given to the city of Düsseldorf; the monastery and the church were sold and torn down in 1809, and only the apse with the ruins of the choir remains.

A canvas in the apse depicting the Madonna in Glory between St Dominic and Pius V was painted by Camillo Procaccino; this painting was relocated here from a closed oratory.Proloco Isola Dovarese, entry on church.

This Gothic stained glass window from the church apse depicts the Crucifixion of Jesus. St. Raphael's is a high Gothic Revival structure,, Ohio Historical Society, 2007. Accessed 2014-02-25. built of sandstone from Berea.

The remains of the saint are held in a modern silver urn which substitutes for the original one smuggled by French. The vault of the chapel and the apse have frescos made by Girolamo Cenatiempo.

At the east end of the church the aisles terminate in gables, each gable containing a circular opening and surmounted by a cross finial. Each facet of the apse contains a pair of lancet windows.

The apse lunette was decorated by Belisario Corenzio with a fresco of the Virgin & John the Baptist pleading with the Trinity to liberate Naples from the plague. The arches hold images of prophets and sybils.

In the interior it has the rooms arranged symmetrical. Neighboring the building, to south-west it is the chapel, in rectangular plan, with the apse of the altar semicircular, in present it is not functional.

Decorative stucco work was also done on the apse. The third phase covers most of the 18th century when the structure was completed, expanding the nave, leaving the tower within it, and a new façade.

The entrance is from the south. Each façade is pierced by a single window. The walls contain shelf-like eaves. The central, northern nave terminates in a semi-circular apse, surrounded with pilasters and arches.

The Baths of Trajan contained a double apse and were "paved with a remarkable mosaic representing the Triumph of Bacchus and the Dionysiac cycle." The mosaic is now at the Bardo National Museum in Tunis.

At the east end there is also a pedimented entrance on both sides, above which is a rectangular window with an architrave, a frieze, and a cornice. In the apse are three round-headed windows.

Moreruela Abbey: interior of abbey church ruins, looking east into the apse Moreruela Abbey (Monasterio de Santa María de Moreruela) is a former Cistercian monastery in the province of Zamora in Castile and León, Spain.

Nebbia's frescoes on the dome of the apse depict Susanna flanked on either side by angels with musical instruments. Behind the high altar, the painting depicting the beheading of Saint Susanna is by Tommaso Laureti.

The church was reconstructed in the 20th century. The interior has a single nave with keel shaped roof with curved stucco decoration. The apse is covered by a semicircular cupola. The nave niches have statuary.

The figure of the Pantocrator gracing the apse is especially noteworthy. The cathedral is one of nine structures comprising the UNESCO World Heritage Site, Arab-Norman Palermo and the Cathedral Churches of Cefalù and Monreale.

The apse is covered by a groined half-dome and contains stained glass windows. The floor is covered with colored native cement tiles and a new choir loft is in the rear of the church.

The Basilica di Santa Giulia is a medieval former church in Bonate Sotto, Lombardy, northern Italy. Built in the early 12th century, only its apse area remain today in a short plain outside the town.

It has a single nave, a wide transept and three apse chapels. There are also elements from Cistercian and Mudéjar architecture such as in the roofs and windows. The main entrance portal features fourteen archivolts.

The circuit is clockwise, from the north side of the nave, the south transept, the choir, the apse, the north transept and finally the south side of the nave. Those in the nave and transepts are made up of two lancets and an eight- lobe rose window, whilst those in the choir are made up of two facing lancets below a rose and those in the apse are made up of single lancets. One has to cross the choir to see the windows behind the high altar.

St Mary's is constructed in handmade brick that was originally plastered, with stone slate roofs and with ashlar upper parts to the tower. Its plan consists of a small rectangular building in four bays, with a semi-octagonal apse, a bell-tower at the west end, and to the west of this a flat-topped porch. The church measures by , with the apse measuring by . Along the north and south walls are large round-headed windows with glazing bars that are continued upwards into intersecting tracery.

358–359 A mosaic cross in the apse of the Hagia Irene church in Istanbul. It is one of the few artistic remains of iconoclasm. Created during the reign of Constantine it occupies the semi-dome of the apse usually reserved for a devotional image, often a depiction of Christ Pantocrator or the Theotokos The fiscal administration of Constantine was highly competent. This drew from his enemies accusations of being a merciless and rapacious extractor of taxes and an oppressor of the rural population.

The main portal of the Carmo Church and access to the museum Nowadays the ruined Carmo Church is used as an archaeological museum (the Museu Arqueológico do Carmo or Carmo Archaeological Museum). The nave and apse of the Carmo Church are the setting for a small archaeological museum, with pieces from all periods of Portuguese history. The nave has a series of tombs, fountains, windows and other architectural relics from different places and styles. The old apse chapels are also used as exhibition rooms.

Military constraints and damage during sieges conditioned the development of the church; some of whose structures were reused as military buildings. The ancient octagonal castle tower, demolished in 1841 in order to allow the construction of the seminary, was probably built on the baptistery. Archaeological excavations inside the church found traces of an ancient basilica (5th to 6th century), a small north oriented chapel with a single apse. Around a century later a new church was built, bigger and correctly oriented, still with a single apse.

Biller and Rasp (2006), 245. Inside, the nave is made up of two domes and an apse, each separated by an arch of brickwork. These, like the columns that separated the side aisles and supported the gallery, were originally richly ornamented. Heinrich von Hess with various assistants created frescoes on a gold background: the first dome had Old Testament scenes, the second Christ and the apostles, with the four evangelists in the four pendentives, and the apse showed the Trinity above a figure of Mary.

There are two entrances, with wooden double doors, one in the narthex on the west side and one in the main part of the church on the north side. The sanctuary ends in the semicircular apse with a hemispherical dome. In the north and the south wall of the sanctuary is formed by a niche with arch. In the dome of the apse there is an opening with a sloping upward direction, blind (with closed end), which served in the past, probably, the ventilation of the sanctuary.

Norman chapel inside the White Tower St. John's Chapel is located in the Tower of London. The building dates from 1080. A Romanesque chapel, St. John's is on the second floor of the White Tower, which was built in 1077–97 as a keep or citadel, the oldest part of William the Conqueror's powerful fortress. It was constructed from stone imported from France, and has a tunnel-vaulted nave with an east apse and groin-vaulted aisles, and the gallery above curves around the apse.

It was listed on the New Mexico State Register of Cultural Properties in 1983 and the National Register of Historic Places in 1984. The chapel is a one-story adobe building in the New Mexico vernacular style. It is approximately rectangular in plan with a polygonal apse and a small shed-roofed wing on the north side containing the sacristy. The building has a corrugated metal gable roof with a wooden- shingled gable end at the front and a three-sided hipped section at the apse end.

Santa Maria d'Àneu Interior view Santa Maria d'Àneu is a Benedictine monastery in La Guingueta d'Àneu, Pallars Sobirà, Catalonia, Spain. It is known for its apse, originally painted at the church and later transferred to the Museu Nacional d'Art de Catalunya.Comment on Apse of Santa María d'Àneu The Romanesque monastery was documented in the year 839 in the records associated with the consecration of the Cathedral of Santa Maria d'Urgell. It is believed that it was originally a Visigoth monastery dedicated to St. Deodata.

After this a western apse was added as an oratory of Saint Mary, probably during the archbishopric of Lyfing (1013–1020) or Aethelnoth (1020–1038). The 1993 excavations revealed that the new western apse was polygonal, and flanked by hexagonal towers, forming a westwork. It housed the archbishop's throne, with the altar of St Mary just to the east. At about the same time that the westwork was built, the arcade walls were strengthened and towers added to the eastern corners of the church.

The nave, recessed chancel and the semicircular apse are built of naturally coloured granite blocks, white-plastered tuff and brick. Evidence of the Romanesque style can be seen in the apse's east window. Cross-arched and stepped friezes decorate the exterior of the apse while zigzag and lozenge designs top the nave and chancel walls. While the windows on the north side of the chancel exhibit only minor adaptations to the Gothic style, the five on either side of the nave are clearly pointed.

The architect was G. R. Clausen. This is an impressive Gothic edifice in bright red brick with a few stone details, having a nave without aisles of five bays, a narrower sanctuary of one bay and a three-sided apse. The nave side walls each have five large pointed windows with two-light tracery, separated by buttresses each of which has two sloping steps in stone. The nave roof is steeply pitched, and the sanctuary and apse have separate pitches at a lower level.

In the triumphal arch on the right side, there is a scene of a man with an ax hitting the head of another person. On the northern side of the apse there is a mural painting of six angels. In front of the apse, there is an image of what appears to be a dog on top of the remains of a frame. Under the dog there is a possible image of some type of bird, though it is hard to make out the exact image.

High-relief carvings of mythical creatures adorn each of the four stone panels between the pendentives and base of the drum. Small vertical windows around the drum as well as small windows at each of the four façades let light into the main floor below. A semi-circular apse is located at the eastern wall of the structure and small "studies" or prayer rooms are adjacent on either side. The arched window above the apse is divided by a single column for decorative and structural purposes.

Interior The interior of the church has a basilica plan with lateral chapels. Frescoes that depict the Adoration of the Magi in the apse and the Assumption of the Virgin in the ceiling are by are mainly by Francesco de Mura. Also in the Apse is a series of paintings depicting the Life of Mary by Ludovico Mazzanti, who also painted the four saints in the counterfacade. The main altar and balustrade in polychrome marble and bronze decoration (1756) was made by Giuseppe Sanmartino.

Sant'Agostino is a Roman Catholic church located in Massa Marittima, region of Tuscany, Italy. The church has Gothic and Renaissance architecture elements in the apse (1350) and choir (1520) respectively. The church with stone facade was begun in 1299 for the Augustinian order, but the apse was completed by 1350 in a gothic style with tall narrow windows. The interior has a Sant'Guglielmo by Antonio Nasini, an Annunciation (1640) by Jacopo da Empoli and a Madonna, Child, and Saints and Annunciation (1639) by Rutilio Manetti.

It underwent a refurbishment, and parts of the inner structure were modified, though it retained its apse and other isolated elements such as its original door. The church was built with a Latin cross layout, the vaults over the apse and crossing of its two arms are of special interest. The bases of the arches of the second of these vaults contain sculptures of the evangelists. The capitals of the church are decorated with plant and animal motifs, as well as war scenes between landers and centaurs.

The Romanesque murals in the apse The interior of the church contains two separate sets of medieval murals. Decorating the apse is a set of vivid Romanesque paintings, influenced by French art and made in the early 13th century but somewhat harshly restored in the 19th century. They depict God holding the crucified Christ within a mandorla, under which the Apostles are standing. On the side walls there are scenes from the Old and New Testament as well as the family tree of Jesus.

In 1934 a new window in the apse was added to the church, designed by Hugo Gehlin, an artist from Helsingborg. Among the church fittings, the baptismal font is the oldest, dating from the 13th century.

Originally, the church had been a simple church with a rectangular nave. It was rebuilt around 1660 into a cruciform church. A new apse was added in 1666. This choir was replaced and enlarged in 1670.

It was also somewhat damaged by shellfire during World War II and affected by the demolition of the nearby ruins of another building. In the middle of the apse, there are two Romanesque stained-glass windows.

The chapel was built in Gothic style. Its dimensions are 7 by 3.70 meters. A characteristic feature is a three-sided apse in western direction. It can be reached through a door with a Gothic skylight.

The apse, in addition to bishops and deacons, depicts the Deesus and Eucharist. The vaults are decorated by the medallions of evangelists. Further up, the tholobate contains eight disciples. Above them, in the dome, the Ascension.

The original entrance was probably on the eastern side, in line with the apse. Only after restoration work in the fourteenth century was it moved to the north. Outside, there is a small Arabic-styled belltower.

The mural above the altar is a copy of Rubens' Conversion of St. Paul, done by F. S. Barff around 1863, which replaced an earlier depiction of the crucifixion. The apse is lit by a skylight.

There is also a window in each side of the apse. Inside the church the arcades are carried on cylindrical piers. The interior of the church has been divided by the insertion of an upper floor.

The aisles have five five-light windows and are battlemented; the clerestory has triple lancet windows and an openwork parapet. The apse has tall, five-light, Perpendicular windows. On the south side is a priest's door.

Its symbolic and religious importance can be summed up by the inscription on the apse: Notre Dame d'Afrique priez pour nous et pour les Musulmans ("Our Lady of Africa, pray for us and for the Muslims").

The Evangelical church was built in 1896 and 1897 by August Ermel, Worms. It is a Gothic Revival “room” church built of hewn stone with a three-sided apse and a hipped roof with a flèche.

Maoz Haim Synagogue. The apse is separated from the main part of the church by the transept. Smaller apses are sometimes built in locations other than the east end, especially for reliquaries or shrines of saints.

The outside the apse is decorated with four lesene and twelve niches. Inside it preserves precious frescoes from the 11th century, featuring Christ and the four Evangelists, with 14 figures below representing the Apostles and saints.

The ornate altarpiece is against the back wall of the apse. Varnished wood doors open off either side of the sanctuary. One leads to the confessional, and the other to a closet room for the priest.

In form this is a basilica with three aisles, as mentioned, separated by arcades of marble columns. The church has extremely good natural light. The choir ends in an apse. The church also has a transept.

The apse is decorated by a fresco by Johann Köler, the first fresco in Estonia made by an ethnic Estonian. The church still houses the bells of the original, wooden church, cast in Stockholm in 1696.

In the church several reconstructions are perceived that have modified the primitive plant. The oldest appointment of the same one is of 1145; but the central apse, which follows a model very close to that of Cristo de la Vega or San Vicente, does not seem to be before the end of the thirteenth century. Like those other temples, its structure would correspond to a church with only one nave; which can be verified in view of the thickness of the old exterior walls of the apse, incorporated in the current presbytery, and used at the end of the XV century, to open small chapels. The expansion, from one to three naves, posed a problem of integration, in the head: incorporate the ships to the apse, already built, a problem that was solved by means of two square spaces, whose exterior walls repeat the organization of the arcade game of the central apse, where the first floor is made up of arches of half a point, the second of arches califales with polilobulado trasdós and the third and superior of arches califales with arches of horseshoe arch.

The exterior generally lacks decoration; the nave has second story buttresses. Near the apse is a tall bell tower. The interior was restored in 2003. It houses a silver and gilded Byzantine reliquary of the Holy Cross.

The steep gabled roof features louvered dormers. A squared apse extends from the back and surrounded by the education building. The education building itself is a Modern Movement style building whose brick matches that of the church.

This is flanked by buttresses, and on the corners are crocketed pinnacles. The clerestory contains three-light windows, and along the sides of the aisles are lancet windows. In the apse are two and three-light windows.

The first church in Arrie was built c. 1200 and consisted of a nave, choir and an apse. During the 14th century, a tower was added. The church underwent further changes during the 18th and 19th centuries.

The apse has retained its half-domed vault. The cross vaults in the chancel and the nave's flat ceiling are original. Salt decay is noted on a vault's medieval bricks. The altarpiece, a carved triptych from c.

The rough-faced ashlar masonry features contrasting quoins and belt courses. The facade is arranged as a porch with two slender Norman-style columns in antis. A semicircular apse projects from the north side of the building.

The Abbey of Fongombault in France shows the influence of the Abbey of Cluny. The cruciform plan is clearly visible. There is a chevette of chapels surrounding the chance apse. The crossing is surmounted by a tower.

Inside, the apse vault has some early colonial era fresco murals. The nave interior houses three Baroque carved altars with statues of saints and images. Restoration work on the monastery building and its artwork began in 2001.

In the north transept is a four-light window with Geometric tracery, and the south transept contains a ten-light wheel window surrounded by ten circular windows. In the apse are three-light windows containing decorated tracery.

Church plan. A few pieces of the old cathedral were incorporated into the modern building. The carved Timpani over the south door was included. Two carved stones now set in the apse were used one more time.

A west tower was added a few years after 1819 and a chancel with octagonal apse and north organ chamber in 1884 and 1885. The church was restored in 1913, when a south-west vestry was added.

Marmaduke Vavasour. Transept arches were built into the walls to provide for any future enlargement. The apse was laid with Minton black, buff and red encaustic tiles. It was consecrated by the Bishop of Peterborough, Rt. Revd.

The apse was replaced in the 1400s with a larger chancel and a porch would have been constructed to protect the door. In 1794 a wooden turret was erected on the church. It contained three small bells.

It was part of the palace complex. The other is named after Saint George and is also known as Tsverodabali after a small hill it is perched on. This early medieval church, measuring 10.27 × 3.74 m and built of dressed sandstone blocks, is also a hall church, with a semicircular apse, horseshoe conch arch, and a heavily damaged ambulatory. The cathedral of Saint Nicholas, in the centre of the modern village, is a three-aisle basilica, with a pentagonal projecting apse in the middle aisle and semicircular apses in the north and south aisles.

The building has a basilica with three naves, divided by columns and pillars, ending in a single semicircular apse, both inside and outside, which has a decorative arch, set to finely carved shelves, within which are embedded lunettes decorated with the typical Valdelsa motifs. The presbytery is raised above the nave. It is the product of several phases of construction, the oldest of which is the apse. The second, dating to the end of 12th century, regarded the system of the colonnade, while the arrangement of the side walls dates from the 13th century.

The abbey has a consecrated church, a 16th-century cloister, the tower, the main body of the building and a beautiful garden. The abbey was rebuilt for the first time in the 16th century, with more work in the apse, while during the 17th century were changed from the high altar and the choir. In the 18th century were added more decorations in marble and complete painting of the walls. The church has a Latin cross plan, made by striking apse angle that simulates the bowed head of Christ.

Above the arch over the presbytery was painted by Stefano Volpi; the imposing Martyrdom of Saints Quriaqos and Julietta in the apse was also painted by Salimbeni. The Prayer in the Garden, Fall of the Rebel Angels, Four prophets and four evangelists in the apse, were painted by Cristoforo Casolani. Mary meets Jesus, Christ at the Column and Repose in Egypt by Francesco Vanni; Deposition by Alessandro Casolani, Christ carries the Cross by Pietro Sorri. Saints Clare, Catherine of Siena, Peter and Paul, and the Angel are by Salimbeni.

The church is situated in the middle of the fortress' territory along the longitudinal axis. It belongs to the domed basilica type of churches, where the bearings join with the side-chapels of the apse. Two pairs of arches divided the longitudinal stretched prayer hall into three naves, the central one of which (with double side-chapels) on the eastern side ends with low staged, half-rounded apse and the side-chapels end with sacristies. They are characterized with stylish iconography, richness of theme and variety of different colors (where blue is dominant).

The Tabernacle was conceived as a miniature, idealized cathedral, and was constructed entirely in marble. It features details such as a lapis lazuli and mother-of-pearl roundel, which represents the rose window, as well as a gold door. The tabernacle stands on a highly elevated platform within the apse. The design of the apse is informed by a scripture passage found in Revelation 4:2-7, which provides a description of Heaven as the Lamb joined by four creatures, 24 elders in white robes with golden crowns, and seven lamps.

Unlike the Lower Church, the transepts also have ribbed vaulting. There are tall Gothic windows with Geometric tracery in each bay of the nave and in the polygonal apse of the chancel. The windows of the apse are believed to have been created by German craftsmen active around Assisi at the end of the 13th century. The windows on the left hand side of the nave were made by a French workshop (1270), while those on the right hand side are attributed to the workshop of Maestro di San Francesco.

Built in 1245, the church has the typical Franciscan pattern: a large nave ending in an apse with a groin vault, flanked by two smaller side-chapels also with groin vaults. The facade holds a lancet-arched main doorway with three small columns in a recess, and a large circular window set above. In the apse are the mouldings of the partially walled Gothic windows. On the left the eastern wing of the cloister is visible, where there are two windows, now filled with masonry, and an arched doorway belonging to the Chapter House.

The nave's 80 columns and its wood and stucco- decorated ceiling are from the 19th century. All that remains of the ancient basilica are the interior portion of the apse with the triumphal arch. The mosaics of the apse were greatly damaged in the 1823 fire; only a few traces were incorporated in the restoration. The 5th-century mosaics of the triumphal arch are original (but also heavily reworked): an inscription in the lower section attest they were done at the time of Leo I, paid by Galla Placidia.

The apse and the roof are covered with tile. Also the apse and the naves contains barrel vaulted rectangular windows. The walls of the middle nave are embellished with the frescos depicting twelve apostles separately as six on the right and six on the left. It is known that over 17,000 Greek citizens had been baptized in the St. John the Baptist Church from 1875 until they left the city in 1924 as a result of the Population Exchange Protocol between Turkey and Greece signed in the Treaty of Lausanne.

According to Lonely Planet, "The interior is splendid, with white walls, gold piping … and a marvellously painted apse." Interior, looking west, showing the Jäger & Brommer pipe organ The mural painted on the dome of the apse (pictured right) depicts Jesus seated on a cloud, red and golden rays radiating out of his golden halo. God the Father, pictured as a white-bearded man with triangular halo, looks down from a cloud above Jesus. A dove with a white halo, representing the Holy Spirit, flies just below God, wings outstretched, completing the Trinity.

In the 19th century, only part of the apse and the south façade of the original chapel remained. In 1975, the owner of “La Busqueta”, a nearby farmhouse, decided to restore it, accurately replicating the structure of the original Romanesque building.Pat.mapa Digitalització del Patrimoni Cultural de Catalunya The church consists of a small single nave that retains two original structures from the 12th century: the apse and part of the barrel vault. It is possible to see the westernmost part of the barrel vault reconstructed with wooden beams.

It was decorated in the style associated with the period of Louis XV of France, using stucco, marble, and gilded wood. The altar contained a copy of the Shroud of Turin; Besançon's shroud disappeared during the French Revolution. The apse contains paintings representing the passion and resurrection of Christ by Charles-Joseph Natoire, Jean François de Troy, and Charles-André van Loo. The floor of the apse is of marble and represents Jerusalem, together with the eight gates and four palaces mentioned respectively in the Old and New Testaments.

Byzantine Macedonia, Art Architecture Music Hagiography, edited by John Burke and Roger Scott, Melbourne 2001, Aristotle Mentzos, page 9 and 10, ISBN 1-864465--49-2 The building has a cylindrical dome supported by four round pillars and has a chapel in the north and south. The apse, delimited by a carved wooden iconostasis, in the eastern part of the church, is bounded by a three-part window. Apse, dome and parts of the walls are decorated with murals. Nothing is left of the original decor, the visible frescoes date back to the 15th century.

The church is a small cruciform monocoque type structure with a long west arm and semicircular eastern apse that is narrower by far than the other three arms. In the northeast corner adjacent to the apse is a "study" or prayer room. Large portions of walls and a section of the gable roof at the western end are preserved, as well as a large section of the lower-drum of a belfry that rests above the front entry. The belfry had been added in the 13th century but has recently collapsed.

Apse of the abbatial church (12th century) The massive church on top of the crypt has a single nave fourteen meters wide. It was designed to have five bays, but apparently because of a shortage of funds only two bays were constructed, and the west end was left unfinished. The nave is covered with slightly pointed barrel vaults supported by projecting traverse arches resting upon cruciform piers. The apse, at the east end of the church, is semicircular, and has the same diameter as the width of the nave.

The Tempietto di San Fedelino', also known as the Oratorio di San Fedele, is a 10th to 11th-century small, Roman Catholic sanctuary or church, located in a remote rural site Via San Fedelino near Novate Mezzola, at the south shore of the River Mera where it feeds Lake Mezzola, province of Sondrio, region of Lombardy, Italy. The small church is made of local stone and has a rounded apse. It still retains some 11th-century frescoes. The frescoes resemble those from the apse of the church of San Vincenzo in Galliano (circa 1004–1007).

The ship has three bays with ribbed vaults separated by transverse arches. The placement of some trumpets in the angles transform the head into a false apse. The nerves of the arches rest to half height it has more than enough cantilevers that are flat in the ship and esculturados in the apse. There are remains of the stables and of the door that gave access to the enclosure, but much of the old property (the hermit's house, the hostelry, the stairway of the choir, the walls and the roofs of the porch) have disappeared.

Oldest of these are a number of purely decorative, grey triangles and crosses, dating perhaps from the earliest construction period. A set of more monumental but likewise purely decorative paintings in the nave and around the east window of the apse date from c. 1280. Later, from the 14th century, are murals in the apse depicting six apostles, unique in their appearance on Gotland. Among the furnishings, the medieval altar (which has probably once housed a relic) has a Baroque top, dated 1683 and with the monogram of King Charles XI of Sweden.

He adapted this idea into a basilica structure, roofing each bay so that they appeared as a series of "Zentralbauten" arranged one after another. The three aisles each end in an apse, as in Romanesque architecture. The two side apses used to contain altars dedicated to Mary and Joseph. The central apse, there is an image of the Archangel Michael locked in combat with Lucifer in the form of a dragon atop the high altar; the half-dome of the apse's ceiling contains a depiction of Jesus as Pantokrator.

Above the wainscot, the walls of the apse are decorated with an alabaster frieze depicting the Last Supper. The frieze, installed in 1908, is divided across three bays; its design was adapted by Hippolyte Blanc from Leonardo's Last Supper and carved by Bridgeman of Lichfield. In the panels of the chancel ceiling, murals by Gerald Moira depict the Four Evangelists while the vault of the apse is decroated with a scene of Christ in Majesty by Robert Hope. The spandrels of the chancel arch are decorated with angels painted by John Duncan in 1931.

The south-west tower was not replaced until 1458, and the Norman north-west tower survived until 1834 when it was replaced by a replica of its Perpendicular companion. In about 1430 the south transept apse was removed to make way for a chapel, founded by Lady Margaret Holland and dedicated to St Michael and All Angels. The north transept apse was replaced by a Lady Chapel, built-in 1448–1455. The crossing tower was begun in 1433, although preparations had already been made during Chillenden's priorate when the piers had been reinforced.

The main facade is austere and has a main door with three archivolts supported by six columns with worked capitals and surmounted by a frieze and a tympanum of the Agnus Dei. Above the door is a rose window with two rings in the same style as the door, thus probably by the same master of works. The external apse of the church is surrounded by three columns with carved capitals, below a cornice of Lombard arcades. The whole apse is ornamented with an entablature with half- circles.

Santa Maria Maggiore has a large area of mosaics, probably from 432-440. They cover the apse, the "triumphal arch" (equivalent to the chancel arch), and sections, originally much larger, of the nave walls, where 27 of an original 42 panels remain from a sequence of scenes from the Old Testament. They are right at the top of the wall and hard to see. The apse mosaic is now mostly Coronation of the Virgin of 1295 by Jacopo Torriti; it was probably originally composed of the giant foliage scrolls that remain to the upper sides.

Projecting beyond the main walls are three bays, clustered around the western end of the Chapel. These bays consist of a single storey rectilinear bay on each side of the Chapel and a taller semicircular apse on the Sandgate Road or western end. The domed apse, the main decorative feature of the Sandgate Road facade, has a zinc roof incorporating ornamental vents and rendered and banded walls decorated with festoons. Although the Chapel consists principally of a single large double-height space, the facades are divided by the use of classical motifs into two levels.

The appearance of stylistic Europeanized elements shows its own way to differentiate and highlight the church's building. The strong shaking of the 1930s earthquake weakened the original vaulted roof which forced to substitute it with trusses and zinc sheets; thus, the spatial quality of the unique nave, which was built with thick adobe walls, was altered. The transept arms and the apse conserved the dome built over wooden beams, which were supported by half point arches. The end of the apse is covered by a construction of retable, which is common in all the valley.

Smiling St. Zeno, statue in the Presbytery The presbytery is raised on an arcade above the crypt which thus remains visible from the nave. The presbytery is accessible by stairs in the aisles. The High Altar houses the sarcophagus of Sts Lupicinus, Lucillus and Crescentianus, all Veronese bishops. On the left of the apse, over the sacristy's entrance, is a Crucifixion scene from the School of Altichiero, while in the small left apse is a red marble statue of St. Zeno of the 12th-century, which is the most venerated image in Verona.

The church interior in 2008 San Felipe de Neri is cruciform in plan with thick adobe walls, wooden vigas, and carved corbels dating to the original 18th century construction. Like most colonial churches in New Mexico, it uses the aisleless (single-nave) plan with a polygonal apse. The apse, transepts, and crossing have a raised ceiling, and there is a low choir loft over the main entrance. The church is notable for its fusion of elements from different periods, with a "skin" of Victorian embellishments applied to the more traditional adobe forms.

Ramsay carried out unrecorded excavations in 1927 and found an iron seal with the names of three martyrs from the period of Diocletian: Neon, Nikon and Heliodorus. Taşlıalan adds the name of St. Bassus of Antioch to this finding and the church is known as St. Bassus Church today. Ramsay went deeper to earlier phases of the church and found another apse in the south of the church. He thought that this earlier apse had been built on the synagogue in which St.Paul preached to the first Christians of Antioch.

A bust of Aelius Verus, set in a niche in the wall of this room, was found during the restoration at Nettuno. A classical apse gives the room an almost temple air. The apse in fact, contains concealed access to the labyrinth of corridors and narrow stairs that lead to the distant kitchens and service areas of the house. Each corner of the east side of the principal block contains a square salon lit by a huge Venetian window, one of them—the Landscape Room—hung with paintings by Claude Lorrain and Gaspar Poussin.

Apse of church with facade on Via San Vito and the adjacent Arch of Gallienus Santi Vito e Modesto is a Roman Catholic church, and appears to have two facades, a 20th-century marble facade on Via Carlo Alberto, but a rustic brick older entrance, in reality the apse, on the Via San Vito in the Rione Esquilino of Rome, Italy. It has also been called Santi Vito, Modesto e Crescenzia (Saints Vito, Modesto and Crescenzia). It is located , adjacent to the Servian Wall, near the former Monastery of the Viperesche.

To the west of the naos stands the narthex, or entrance hall, usually formed by the addition of three bays to the westernmost bays of the naos. To the east stands the bema, or sanctuary, often separated from the naos by templon or, in later churches, by an iconostasis. The sanctuary is usually formed by three additional bays adjoining the easternmost bays of the naos, each of which terminates in an apse crowned by a conch (half-dome). The central apse is larger than those to the north and south.

Ludovico's wife Beatrice was buried in the church in 1497. The design of the apse of the church has been attributed to Donato Bramante, as his name is inscribed in a piece of marble in the church vaults delivered in 1494. However, some dispute that he worked on the church at all. According to one source, in 1492–1497 Bramante worked on the crossing and the dome as well the transept apses and the coir with apse; this source also attributes a plan and section of the building to Bramante.

Rogers was the favored architect of New York philanthropist Edward Harkness, who provided the funds for the project. Kirkland Chapel, named for former senior pastor Bryant M. Kirkland, offers a distinct contrast in design philosophy to the Sanctuary. All is rigidly organized in a long and narrow rectangular space from back to front, where there is a semi-circular apse with a raised pulpit off to one side and a lectern on the other. In a pre-Reformation church, the center of the apse would contain an altar, where the priest would celebrate the Eucharist.

The west end of the chapel The current chapel was probably built to replace the one destroyed by an earthquake in 1170. Only the east end of the original chapel, which housed the apse, and a small part of the south wall survive from the original chapel. The later chapel had a barrel vault and an uncomplicated apse; its design would have been considered outmoded by contemporary standards in France, but bears similarities to that built around 1186 at Margat. It was divided into three roughly equal bays.

A model of an apse shows how easily the miniature could fit into the shape, and how likely it was that it is a direct copy of the apse of some structure. In many of the images, the eyes of the crowd figures are not quite focused on the subject on the drawing, suggesting that they held another position when they were first drawn. Christ stands in a subordinate position, lower and to one side. Pilate's commanding position distinguishes these miniature from almost all other versions of the trial in early Christian and medieval art.

The juxtaposed apse is covered by a vaulted ceiling with a central shell motif at its apex. Since there is no heating system within the Roman villa, it has been suggested that the villa was only used during the harvest season.Almeida (1971) In the southern part of the villa, are the remains of a Roman temple (connected by a wall) and constituted of a rectangular cell-apse with two niches in the internal walls. Archaeological artifacts found in the excavations have included ceramics, glass, and metal implements, as well as copper and silver coins.

The band's gigs were often performed in low light with the members seated, surrounded by antique electronic equipment. By the end of 2004, Apse was signed to Acuarela Discos, based in Madrid, Spain. Apse (a self-titled, 34 minute EP), was released internationally in the spring of 2005. A second drummer, Matthew Wick, was added to the band for live performances during this period. The group underwent another lineup change in the late summer of 2005, when Todd and Wick left the band; Piccirillo switched to bass, and Albert Gray recruited to play guitar.

The church is on the Latin cross plan, featuring a single nave with cross-vaults with a polygonal apse, and side chapels between the external buttresses. The lower apse has, externally, arches in mixed styles, perhaps inspired to style of the Aljafería Palace, above which are twenty decorative ogival arches and crosses forming quadrangular motifs. The bell tower has four orders with white and green tile decorations. The high altar, executed by José Ramirez de Arellano (who also made the sculptures in the Holy Chapel of the Pillar) dates to the 18th century Baroque renovation.

The accent panels and coffers in the apse were inlaid with red granite from Texas. The Great Seal of the United States was carved in granite in the center of the apse arch, while on either side were seals of the United States Department of the Army (south) and the United States Department of the Navy (north).Peters, p. 284; Dunham-Jones and LeBlanc, p. 41. Along the facade of the Hemicycle were 10 false doors or niches which were intended to house sculptures, memorial reliefs, and other artworks (which would act as memorials).

Almost no Romanesque artifacts survive in Southern Portugal.José Custódio Vieira da Silva, Portugal §2: Architecture; Oxford Art online Main façade of Monastery of Rates old church, a Cluniac monastic building. The first Romanesque churches in the North were simple constructions, consisting of a nave with a timber roof and a rectangular apse. Examples can be found at the Igreja de São Cristóvão de Rio Mau, at the Igreja de Santa Eulália do Mosteiro de Arnoso and at the Church of Fontarcada (with already a semicircular apse at the east end).

Behind the altar is a mullioned window opening towards the interior of the cathedral, sided by two decorative lozenges which can be seen also on the exterior walls of the apse, and are typical of the Pisane Romanesque style. The right room houses instead a characteristic mitre-shaped fireplace. From the narthex is also accessible the true interior of the church, which has a nave and two aisles divided by columns, with a semicircular apse. The nave is covered by wooden trusses, while the aisles are groin-vaulted.

The relatively large church, which predated the nunnery, had its beginnings about 1090 as a parish church dedicated to Saint Margaret of Antioch during the reign of King Olaf I of Denmark, sometimes called Olaf Hunger. It functioned as the cathedral of Viborg until the new cathedral at Viborg was finished in 1133. It was constructed of granite and limestone in the Romanesque style with rounded arches and few windows. The church was of an irregular shape with a nave, one side-aisle with an apse, and a square choir also with an apse.

A belfry tower at the southeast corner, between transept and apse, is not visible from the street, but can be seen from the courtyard adjacent to the cathedral. According to the architect, the colorful interior of St. Joseph was created in the Mediaeval Byzantine style. The primary dome is filled with a depiction of heaven. The eye-catching mural, “Enthroned Christ and the Communion of the Saints,” which fills the half-dome of the apse, was painted by Felix B. Lieftuchter, and George W. Sotter designed the medieval-style stained glass.

The paintings, as revealed by a capital stripped of the 16th century gold painting, were originally polychrome. In the right transept is the Deposition by Benedetto Antelami (1178). The cycle of frescoes in the nave and apse walls are by Lattanzio Gambara and Bernardino Gatti. Along the nave, in the lunettes above the spans are monochrome frescoes of Old Testament stories, as well as event of the passion. This culminates in the apse cupola, frescoed with ‘’Christ, Mary, Saints, and Angels in Glory’’ (1538–1544) by Girolamo Mazzola Bedoli.

The building, of imposing proportions, has 5 longitudinal naves, main and four side, a cruise of three naves, an apse aisle with two naves with seven apsidal chapels, a porch, a crypt and a sacristy. With 118 meters apse portico, it is 62 meters wide between the two end walls of the transept and 35 meters high on the cruise, is the second largest church in Spain after the Cathedral of Seville. Its Latin cross is reminiscent of the Chartres Cathedral and covers an area of 5,750 square meters and can shelter inside 150,000 people.

New York: Robert Appleton Company, 1909. 25 June 2019 The tomb was below the church, under the apse. A monastery was established that followed the Benedictine rule.Historia Selebiensis Monasterii, (Janet Burton, Lynda Lockyer, eds.), OUP Oxford, 2013, p.

The eastern apse is decorated with a throned Christ with His disciples and saints. The western wall portrays the Last Judgment, while the northern wall illustrates scenes from the Nativity of Jesus. Little of those decorations survive today.

In 1981 the foundation of an orphanage school was visible and only the east end of the large Church of St. James was standing. There was evidence of an underground crypt below the central apse of the church.

Hemicyle of apse and lateral flank of nave of Santa Maria Nuova Santa Maria Nuova is a Romanesque-style, de-consecrated church located on Via Manrico Ducceschi #2 and Largo Santa Maria, in Pistoia, region of Tuscany,Italy.

The genuinely Romanesque apse can only be seen from the courtyard of the adjacent complex of 18th-century buildings. Inside the cathedral, looking east André Friedrich: Monument to Johannes (Jean) Hültz, architect of the octagonal top, in Strasbourg.

The Apse of Sant Climent de Taüll () is a Romanesque fresco in the National Art Museum of Catalonia, Barcelona. This is one of the masterpieces of the European Romanesque.Guide of the Museu Nacional d'Art de Catalunya. MNAC, 2004.

The apse has also a sculpture group of the Annunciation and the decorated tombstone of Alemanda de Rocabertí (died 1373). The walls of the Hall features several 14th-century sculptures of saints, some with traces of polychrome paint.

It was rebuilt, together with section of the chancel, from 1953 to 1954. During excavations in 1950-51, 1976–77 and 1983, foundations of a Romanesque apse and a square building from the time of Charlemagne were found.

St. Epiphanios is buried at the southern apse. The church contains a baptistry heated by hypocausts. The church was destroyed in the 7th century and replaced by a smaller building to the south. There are very extensive ruins.

The church is built in a late Gothic style with a rectangular body and square tower at the west end and a three sided apse at the east end. The Church is in the care of Historic Scotland.

In August 1943 the Allied bombings heavily damaged the basilica, in particular the apse and surrounding area. As a result of this a new building, painted in pink, was constructed to house the Abbot's offices and the museum.

At the end of the aisle is the altar on a raised dais. On it is a wooden lectern with Greek Revival detailing. Walls separate smaller rooms in the transept and apse. The former are small prayer rooms.

Facade with access staircases. Church seen from above town. Interior towards apse with gothic tracery. San Fortunato is a Gothic- and Renaissance-style, Roman Catholic church in the center of Todi, province of Perugia, region of Umbria, Italy.

Rollag stave church (Rollag stavkirke) was built around 1150–1200. It is located a few kilometres north of the centre of Rollag. It was extended and windows were added in 1652. A new Apse was added in 1666.

The pavilion extension to the south of the apse is entered from the south verandah. A light and airy room, with a mansard profile sheeted and battened ceiling, it is lit by a bank of south facing windows.

Another chapel has an altarpiece depicting Saints Giusto and Tossano and the Madonna Lauretana by Domenico Rozzi. The apse has frescoes depicting the Life and Martyrdom of St Stephen (1927) by Ciro Pavisa.Parish of Santo Stefano official website.

The triumphal arch between the apse and the nave probably dates from the time of the first renovation in the 9th century. The only Anglo-Saxon window is in the wall of the eastern gable above the choir.

Inside the church are arcades of nine bays with round arches supported by scagliola columns. The capitals alternately have oak and acanthus decoration. The ceilings are richly ornamented and coffered. The altar is free-standing in the apse.

The chancel is situated beneath the tower. It has a polygonal apse with plate tracery. The west end has three lancet windows, with a plate tracery rose window above. The aisles and clerestory have pointed windows in pairs.

The building's apse. The English Church (Englische Kirche) is a former Church of England church building in the German city of Bad Homburg in Hesse. It is listed as a historic monument and now houses a cultural centre.

Part of a porticus has been uncovered on the north side of the apse, which may have been where Queen Ethelburga was originally buried, although it is recorded that her remains were moved to Canterbury at a later date.

Crossing tower of the Old Cathedral The apse The Old Cathedral (Spanish: Catedral Vieja de Santa María) is one of two cathedrals in Salamanca, Spain, the other being the New Cathedral of Salamanca. The two cathedrals are joined together.

Most of the windows are composed of geometric designs. The two largest windows depict Biblical scenes. All the window openings are capped by radiating voussoirs. The apse, constructed of vertical board on the rear elevation, is a later addition.

The five pillars divide the space into six bays. The first bay includes the vestibule and features a spiral wooden staircase to the choir loft. The apse is square in shape and is crowned by a brick lanterned dome.

The footprint of the cathedral is of a cruciform plan. It features a large dome at the crossing of the transept and the nave. The interior consists of eight bays plus the apse. The westernmost bay accommodates the vestibule.

The Chapel consists of an entrance room with a rectangular base, covered by a cross vault which is connected to a pentagonal apse introduced by an arch, where are a circular opening and four windows which illuminate the chapel.

Of Romanesque design, further construction occurred to the building in the 16th and 17th centuries. Side chapels were added. It has a single nave with pointed vault and semicircular apse. The date of 1639 is recorded on the building.

The apse, as well as the other church of San Vincenzo in Cremona, resembles that of the Nonantola Abbey. The church includes a statue portraying "St Michael Subjugating the Beast" and located to the right of the high altar.

It is decorated with stained-glass windows with round arches. The church's apse includes two side altars in recesses. A loft is provided for the choir and organ over the entrance. The spire contains a belfry with four bells.

Although Dickinson's crew fired their cannon from the apse into the Mexican soldiers, they had no time to reload. Dickinson, Gregorio Esparza, Bonham, and the remaining Texians grabbed rifles and fired before being bayoneted to death.Edmondson (2000), p. 371.

Funbo is a stone church, built in the late 12th century. The church was built in Romanesque style. In 1301, the church underwent rebuilding in Gothic style. It consists of a rectangular nave, a narrow choir and an apse.

Church belongs to older type of churches with rectangular foundation without apse part at the site of the altar. The construction material for church was oak tree. Church is 9,46 meter long, 4.92 meter wide and 5.50 meter high.

152 without major changes to the building itself apart from the new apse. The small courtyard outside the church was laid out at this time. The church has been served by the Stigmatines since 1926. Their generalate is adjacent to it.

The Palazzo Leoni is a Renaissance style palace located on Via Marsala #31, in front of the outlet of Via Mentana, in central Bologna, region of Emilia- Romagna, Italy. The apse of the church of San Martino, is across the street.

The interior is divided into three naves, which are divided by pillars. A tall wooden high altar fills the apse of the church. It was installed in 1893. A Eucharistic Chapel was constructed in the left side sacristy in the 1990s.

It follows the cross-domed design and has a single apse. The cella is divided into three naves by two rows of columns. The columns' capitals are decorated with plastic carving and tracery. The church has a high, massive iconostasis.

All Saints is a parish church in Sutton, Kent. It was begun in the 12th century and is a Grade II listed building. The south porch and vestry was added in 1857 and an apse added in 1861 by Arthur Ashpitel.

The church was built in the 11th century; it has got just one nave and an apse with a mullioned window. Inside the church, there are two frescoes: one picturing Basil of Caesarea and the other (14th century) John Chrysostom.

St John's is a small and simple church, like many other churches nearby, consisting of only a nave and an apse. It has a flat-topped bellcote, which is surmounted by four small spikes, each in the form of an obelisk.

The devouring monsters. Snake-shaped lock. The late Gothic church is complete with nave, semicircular apse and lateral chapels. The entrance features a pointed frontispiece with four sloping archivolts supported by fluted columns with original capitals, a lintel and a pediment.

Unlike common practice in contemporary Byzantine architecture, no bricks have been used, except for the dome. Its interior was originally decorated entirely with frescoes, but only one of these survives today: an image of the Panagia over the entrance apse.

West front and bell towers View of nave towards apse Casale Monferrato Cathedral () is a Roman Catholic cathedral in Casale Monferrato, province of Alessandria, Piedmont, Italy, dedicated to Saint Evasius. It is the episcopal seat of the Diocese of Casale Monferrato.

The style of the bell tower is similar to the one in the Abbey of Fruttuaria.AA.VV, L'arte romanica in Piemonte, Val d'Aosta e Liguria, Edizioni Angolo Manzoni, Turin, 2000, p. 274 The bell tower and the lantern tower. The apse area.

Some of the original statuary had been rescued by local parishioners. The church has a semicircular apse connected to a dome with an octagonal drum. The nave is long, single and tall. The present interior appears to reflect the baroque refurbishments.

Church of Sant'Orso. Aesop's fable of the Fox and the Stork. Sant'Orso, or Saint-Ours, is a collegiate church in Aosta, northern Italy, dedicated to Saint Ursus of Aosta. The original church had a single hall, delimited by a semicircular apse.

Windows are pointed arch type, and there is a triple window in the apse wall. The cemetery has several graves, including that of George Greene and, more recently, David Morris, who purchased the property and implemented a major restoration program.

The apse is dominated by an orant Theotokos with a Deesis in three medallions above. Below is a Communion of the Apostles. Gelati, Georgia. c. 1125–1130. Prince Sviatopolk II built St. Michael's Golden-Domed Monastery in Kiev in 1108.

Lake is a large village and civil parish located on Sandown Bay, on the Isle of Wight, England. It is six miles south-east of Newport situated between Sandown and Shanklin, and to the east of the hamlet of Apse Heath.

The Museum also has a group of beautiful polychrome glass windows, oculi, dating from the 14th century and originally from the apse of the sanctuary. Amongst the five windows, the largest is one depicting the Virgin with the Infant Child.

A campanile, which partially obscures the cupola, was built between 1731 and 1757. Between 1825 and 1830, a Baroque revival facade replaced the original west front. Between 1900 and 1903, an apse was added on either side of the choir.

A tower, now the bell tower, was started around 1170. It was completed between 1195 and 1200. Around 1190 the canons decided to build a more imposing church to welcome the growing numbers of pilgrims. The apse was completed in 1205.

A vestige of this church, now known as Saint Lubin Chapel, remains, underneath the apse of the present cathedral.Houvet, Étienne. Chartres- Guide of the Cathedral (2019), p. 12 It took its name from Lubinus, the mid-6th-century Bishop of Chartres.

The current church was designed by architect in a Neo-Gothic style. It consists of a western tower, a nave and a choir without an apse. Inside, the church ceiling is supported by vaults. The exterior is richly articulated with i.a.

Part of the temple was rebuilt in Gothic style. The bell tower was rebuilt in Lombard style, with three floors and a gabled roof. Square in plan, it is decorated with Lombardy arches and pilasters. There is a Gothic apse.

Albano Vercellese borders the following municipalities: Collobiano, Greggio, Oldenico, San Nazzaro Sesia, and Villarboit. It is home to a castle which has maintained parts from the 14th century. The apse of the Oratory of the Holy Trinity has 15th-century frescoes.

One of the chapels, Kara Kilise, still preserves the apse and the pointed vault over the nave.Robert W. Edwards, "Ecclesiastical Architecture in the Fortifications of Armenian Cilicia: First Report," Dumbarton Oaks Papers 36, 1982, pp.168-170, pls.24-30.

In 1697 he was asked to build similar Baroque altars with scenes from the life of St Ignatius in the apse of the Sant'Ignazio church in Rome. These altars house the relics of St. Aloysius Gonzaga and of St. John Berchmans.

The arcades consist of round columns with square capitals carrying round arches. They are clad with terracotta. The chancel has a quadripartite rib vaulted ceiling and blank arcading on the north and south walls. The ceiling of the apse is painted.

At the rear of the apse there is an ancient door from 1578 that previously gave access to the church via the rear façade. Over the years the construction of neighbouring buildings has obscured the ancient walls of the church.

Typical Early Christian/Byzantine apse with a hemispherical semi-dome decorated in mosaic (Basilica di Sant'Apollinare in Classe in Ravenna) In architecture, a semi-dome (or half-dome) is a half dome that covers a semi- circular area in a building.

The portal is reached through elaborate levels of stairs. The interior has a nave divided from the aisles by compound piers. The vault displays gothic tracery, and the apse has tall lancet windows.Visitodi website, tourism website of the Region of Umbria.

The interior consists of a mixture of Byzantine and Art Nouveau. The theme of Christ the Redeemer is ubiquitous throughout the church, and culminates in the Christ Pantocrator mosaic of the apse vault.Kirchenfuehrer - Kirchen im Hochtaunuskreis. Hochtaunuskreis 2006, page 4.

Below each window is a stylized arch design. In the upper fascia, there are also three small windows, each one in the center block of a three-panel design. The apse was originally semicircular, but it was made rectangular in 1202.

The San Damiano cross which putatively spoke to Francis currently hangs in the Basilica of Saint Clare in Assisi. Other artworks in the church include a 14th-century Madonna with Child between Sts. Damian and Rufinus fresco, located in the apse.

Arnaldo Cocchi, page 285. The chapel cupola has frescoes by Luigi Sabatelli. The chapel was designed by Zanobi del Rosso, and once had a canvas attributed to Francesco Bacchiacca. The apse and altars of the church were designed by Fortini.

The remains of a central area and two apses can still be seen. The temple probably contained another two apses, giving it a four-apse shape which was typical of the late temple period. No traces of the temple's façade exist.

The design is eclectic, and includes a triumphal arch motif, a round oculus, and a rounded portal, all circumscribed by sleek lines recalling the new Stilo Liberty (art-nouveau) style. The apse has frescoes depicting the four evangelists.Parish official site.

Sometimes other artists worked to the designs of Boitac, such as Marcos Pires, who designed the Sala Grande of the Manueline Royal Palace. The apse of the chapel of the university was rebuilt and enlarged following the plans of Boitac.

The toothed cornice is decorated a saw-toothed trimming which runs along pilasters to the chancel gabel. The nave walls are similarly decorated with cornices and pilasters. The chancel windows resemble those of the apse but they have been extended downwards.

Construction of the present church began in 1664 using designs of Bartolomeo Avanzini. The apse has a large painting San Carlo Borromeo among the people of Milan afflicted by the plague of 1576 by Marcantonio Franceschini.Turismo of the Comune of Modena.

This contrast is visible in the difference between Amiens Cathedral, with its minimal transepts and semicircular apse, filled with chapels, on the east end, compared with the double transepts, projecting north porch, and rectangular east end of Salisbury and York.

The Speti iconostasis with a wooden cross and deers' horns before it. Published in 1898. The church is built of large hewn sandstone slabs. It is a small single-nave hall church, with a semicircular apse inscribed in the outer rectangle.

Detail of the stone carving, eastern portal The cathedral is and was originally built asymmetrically. Its main volume is a square supported by four columns in the middle. The columns are square in cross-section. The eastern side is an apse.

In the transept are two lancet windows, over which is a quatrefoil window. The apse also contains lancets. Above the walls of the aisles are pierced trefoil parapets. Over the join between the nave and the chancel is a double bellcote.

Fusco has since said he was made a scapegoat in the affair. The story finished in 4th place in voting for an APSE award for Explanatory Reporting. It won a regional SPJ award for Sports Reporting in the Pacific Northwest.

Only the apse and a small segment of the round kirk's nave wall now survive. The site is now in the care of Historic Environment Scotland and is open to the public. The remains are protected as a scheduled monument.

The main altarpiece in the apse is an oval depicting the Madonna delle Grazie by an 18th-century painter. In 1770, the adjacent Augustinian nunnery was built. It is presently a nursing home for the elderly.Comune of Scicli, entry on church.

First appears documented in the late 13th century but little is known of its history. Located in the municipality of Barruera, is a building with a single nave with a barrel vault. The nave is headed by a semicircular apse.

They were the bishop of Nicopolis and two of his companions. The trio were sleeping behind the apse of a church's altar. When the ceiling of their room collapsed, "one end of its beams" was stopped by the altar's wall.

His relics are now interred in the altar of St Mary Magdalene's Chapel in the London Oratory. His feast day is May 27. The 19th century stained glass window in the apse of Notre-Dame Cathedral in Orange depicts him.

The main altar was designed by Giovanni Battista Contini, and the main altarpiece by Luigi Garzi. Side paintings were by Agostino Masucci. The ceiling of the apse was frescoed by Pasqualini. Garzi also painted a Virgin with Saints Charles and Phillip.

The church was constructed using local tuff, with three naves ending in a semicircular apse. The façade has four pilasters with Corinthian capitals likely used in an older building. The portal is simple. The walls are pierced with monofore windows.

The northern transept was also built in the 1830s. In contrast, the ceiling in the apse is original, dating from the time of the construction of the church. The operetta singer (1931-2002) is buried in the cemetery of the church.

Also excavated in 1958 was the 4th church, which was almost rectangular with an apse. It was surrounded by about 100 burials. The graves were more poorly furnished, possibly reflecting Christianisation. In this cemetery there were more female burial than male.

July 3, 1949, the painter Gerardo Dottori completed the decoration of the church's apse with 3 frescoes. It is a triptych dedicated to St. Christopher, which includes the conversion of the Saint, the carrying Jesus and the martyrdom of the Saint.

Also there are frescoes depicting the Life of Saint Sebastian.Comune of Marmora. He painted an Enthroned Madonna in the apse of the church of Santa Maria della Pieve in Beinette. Other frescoes in the church are attributed to Amedeo Albini.

There are large round-headed pairs of arched windows with Y-tracery, (possibly added later) and plain architraves. There are three such windows on the north side and four on the south side with more round- headed windows in the apse.

Saint Giles's Church The local church is dedicated to Saint Giles (). It was originally a Gothic church with an angled apse. Around 1710 it was made taller and renovated in the baroque style. The belfry is from the 16th century.

The semidome of each is decorated with beautiful design. Above the registers lies the majestic semidome. There paintings than can be distinguished in these semidomes. The one in the central apse has a painting of the Pantokrator and the four evangelists.

There is an implied visual continuum between the dome and the apse frescoes aided by the fact that there is no dome drum; the assumpting Virgin (in the apse) raises her eyes towards Heaven and the Father (in the dome) extends his hand as if bestowing His blessings upon her. Cortona's nave vault fresco of the 'Miracle of the Madonna della Vallicella' was executed in 1664-65\. This is clearly set within an elaborated gold frame, a quadro riportato, and is painted with a Venetian influenced view of di sotto in su (from below to above).

The church is dedicated to St Mark and is a plain looking building with a wooden roof and a variety of features from various periods. The Romanesque foundations of an apse displayed inside the church, under the floor of the present apse, show that there was a smaller church on this site before the 14th century. The first major rebuilding seems to have been undertaken in the 16th century when the choir was rebuilt with decorative, rather than structural ribbed vaulting. As indicated by the date 1627 on the rear portal, the steeple and the entry porch were rebuilt.

The main part of the church consists of a nave with two side aisles; a large choir, sanctuary and apse; and two side rooms which hold a sacristy and a chapel for Panna Maria Šancovská Our Lady of the Ramparts. Front of the Basilica There is no transept. Structurally, the building is quite vertical, its ceiling is cross vaulted and the pointed arched windows let in the sun’s light through stained glass. A few meters east of where the church now stands beyond the cemetery walls the original foundations from the apse of the old Gothic church were excavated.

Very little of Liutprand's original church of San Pietro in Ciel d'Oro consecrated by Pope Zacharias in 743 remains today. Originally the roof of its apse was decorated with mosaics, making San Pietro in Ciel d'Oro the first instance of mosaics being used to decorate a Lombard church. It is now a modern church with the only significant link to its antiquity being its round apse. The Lombards built their churches in a very Romanesque style, with the best example of Lombard churches from the period of Lombardic rule being the Basilica of San Michele still intact at Pavia.

The decoration on this apse is a noteworthy sample from the MNAC's unique collection of Romanesque mural painting, most of which comes from the diocese of Urgell. In the apse there was a large representation of the Theophany, or manifestation of the Lord, inspired in the Gospel and the Book of Revelation. Christ appeared in all his splendour, upright and imposing in the mandorla of his glory, with the Earth as his footstool, in keeping with the Biblical interpretation. He was surrounded by the Tetramorph, or symbols of the Evangelists, of which John's eagle and Luke's bull are preserved almost whole.

The bottom of the altar apse is trimmed by a graceful arcature topped with a band which is ornamented with an intricate geometrical pattern and garlands of alternating trefoils and spheres. The columns of the interior lining the sides of the apse and supporting the wall arch of the arched floor are covered with twisted flutings and fillets; a floral ornament of an ingenious design fills the middle of the lintels of the doors leading to annexes. The exterior decoration of the church is also rich. The graceful arcature with ornamented spandrels, engirdling the edifice, is topped with half-arches on the corners.

Pantocrator at the Apse of Sant Climent de Taüll, surrounded by the mandorla. The Master of Taüll (or Master of Tahull) is considered the greatest mural painter of the 12th century in Catalonia (northeastern Spain), as well as one of the most important Romanesque painters in Europe. His main work is the church of Sant Climent de Taüll, with the famous apse painting now moved to the Museu Nacional d'Art de Catalunya in Barcelona.MNAC, Master of Tahull Other paintings from the church of San Baudelio de Berlanga in Castile have also mostly been removed, with the larger New Testament frescos in American museums.

Italy, Veneto, Padua, church of Santa Sofia, apse (particular) The church, as typical for Romanesque churches, is oriented with an apse to the east and facade facing west. The north range of the upper part of the facade has sunken, due to a failure of the foundation took place around the time of construction. Characterized by niches, blind arcades and hanging arches, it is linked perhaps to the construction site of Torcello and is dated to the first half of the twelfth century. Within certain niches, on the north, there are visible fragments of frescoes of the fourteenth century.

September 25, 1936. A second Confederate memorial was proposed for Arlington Memorial Amphitheater. It is unclear who or what group made the suggestion (although the Washington Post implied it was a project of the Sons of Confederate Veterans), but it was proposed to inscribe the names of leading Confederate figures on the columns on either side of the apse in Memorial Amphitheater. These square pilasters on either side of the apse list the names of famous American generals (left, as one faces the stage) and admirals (right) from the American Revolutionary War through the Spanish–American War of 1898.

The Hamlet has gained some popularity over pranksters and their efforts to alter the sign with marker pens or electrical tape, changing the 'P' in 'APSE' to an 'R', thus editing the sign to read 'ARSE HEATH'. Although Island Roads tends to hastily clean the sign down and remove the damage, the sign is rarely ever clean for long, much to the amusement of both schoolchildren from the hamlet and the neighbouring village of Lake and tourists alike. On 12 January 2006, two horses were injured in a fire in some stables in Apse Heath.January 2006 report , Isle of Wight Fire and Rescue .

The Church of St Nicholas in Sapareva Banya Side view from the north with the apse visible The Church of St Nicholas (, tsarkva „Sveti Nikola“) is a small medieval Eastern Orthodox church in the southwestern Bulgarian town of Sapareva Banya, which is part of Kyustendil Province. Originally either the property of a local notable or attached to a larger church, it was constructed anytime from the 11th to the 14th century. The church was built using red bricks and white mortar. Architecturally, it is of a simple Byzantine cross- in-square design, with a single nave and apse.

The Crypt of Santa Marina is situated in the homonymous chapel near the cemetery. This is a crypt Basilian dating to the 10th or 11th centuries and consists of three rooms: a room entrance, a central trapezoidal and the apse. Each environment presents the typical steps which act as seats and in the apse are the remains of an altar and a column. Of particular importance are the Byzantine frescoes depicting St. Nicholas, St. Catherine of Alexandria, the ' Archangel Gabriel, Santa Marina and Holy Anonymous, executed over a period of time between the 11th and 14th centuries .

The nave has a clerestory with pairs of two light windows in each bay with flowing tracery while the lean-to aisles have three-light windows with varied Decorated tracery. The transepts have large windows with a transom: each has a different design in the tracery but in both cases based on a circle. At the east end the chancel has a low parapet pierced with trefoils, a five-sided apse and crocketed pinnacles at the angles of the apse. The roof over the nave has hammerbeams and that over the chancel is a keel shape.

One of Louis Vierne's best-known organ pieces, "Carillon de Westminster", the final movement from Suite no. 3 (op. 54) of Pièces de Fantaisie, was composed for it and dedicated to the builder. The apse organ of fifteen stops was built in 1910 by Lewis & Co. Although the Grand Organ has its own attached console, a console in the apse can play both instruments. On 3 May 1902, some 3,000 people attended a concert of sacred music in the cathedral, organised to raise money for the Choir School and to test the acoustics in the building.

The arms of the transept are covered with rib vaults of archaic style, without keys, separated by a band decorated with chevrons (). The semicircular arch that opened onto the southern apse chapel shows twenty keystones carved with anecdotal scenes or stylised animals. The choir, three bays deep and much modified in the 17th century, still reveals its primitive Romanesque structure, especially in the high columns that marked the start of the semicircle of the apse. The abbey church was classified as a monument historique by the 1862 list and various parts of the abbey were classified in 1992.

The church was founded in the early 12th-century, and part of the remaining apse, bell-tower, and portico date to the following two centuries. It was erected adjacent to the Hostel of the Holy Sepulchre (Ospizio del Santo Sepolcro), used to house pilgrims traveling to an from the Holy Land. In the 13th-century, the church was affiliated with the Knights of the Order of MaltaCavalieri dell'Ordine di San Giovanni di Gerusalemme, poi di Malta. During the 16th-century, the church and adjacent cloister were decorated, including Renaissance frescoes in the apse (1533) by Girolamo da Treviso.

Summary Faftertin (فافرتين) is a village in northwestern Syria, located in the Jebel Sem’an region of the Dead Cities. The village was founded in the 4th century CE, and in 2011 was named a UNESCO World Heritage Site as part of the Dead Cities. The only structure preserved in the village is the apse of its church, one the oldest surviving churches in the world. Church, Fafertin (فافرتين), Syria - View of sanctuary apse with diaconicon to the north - PHBZ024 2016 1729 - Dumbarton Oaks Location Fafertin is located under a crest on an eastward slope in the heart of the Jebel Sem’an region.

Decorative stone carving on the dome at Ikvi The Ikvi church of Saint George is built of cut stone blocks and measures 9 × 7.2 m. It is a cross-in-square building, in which the bays that form the four arms of the cross project from the central bay; of these, three are short and rectangular, while the fourth one terminates in a deep apse on the east. The apse is flanked by two pastophoria. The tall dome sits on top of the intersection of vaulted arms of the central bay, its drum resting on a pendentive.

Close-up of Saint Pudentiana in the mosaic of the apse The Basilica of Santa Pudenziana is recognized as the oldest place of Christian worship in Rome. It was erected over a 2nd- century house, probably during the pontificate of Pius I in AD 140–55, re- using part of a Roman bath facility, still visible in the structure of the apse. The structure was the residence of the Pope until, in 313, Emperor Constantine I offered the Lateran Palace in its stead. In the 4th century, during the pontificate of Siricius, the building was transformed into a basilica.

The interior's single nave is surmounted by cross vaults, supported by Gothic buttresses. The side walls feature a triforium with pointed-arch stained glass windows. The apse is separated from the nave by a wall reaching to the vaulted ceiling and perforated with openings, namely one enormous ogive or pointed arch in the center framing the high altar, flanked by two smaller pointed arches as entrances to the ambulatory at the apse. The upper reaches of the wall bear a large central rose window (1705, dedicated to the Archangel St. Michael) flanked by two smaller ones.

A splendid three-storey rectangular volume with a towering vaulted ceiling, the chapel has a projecting apse to the east, a mezzanine gallery to the west and holds a congregation of over 350 persons. Lit to each side by five, tall, narrow, coloured glass windows with decorative geometric grids featuring crosses and arcade motifs, the interior is finished in white painted plaster with ribs, compound columns and decorative features picked out in gold. Latticed ceiling roses vent the space. The sanctuary is within the projecting apse, lit by a small narrow light to each side and encircled by a blind arcade.

Architectural remains from the Beth Alpha synagogue indicate that the synagogue once stood as two-story basilical building and contained a courtyard, vestibule, and prayer hall.Hachlili, Jewish Art and Archaeology in Late-Antiquity, 232–33 The first floor of the prayer hall consisted of a central nave measuring 5.4 meters wide, the apse, which served as the resting place for the Torah Ark, the bimah, the raised platform upon which the Torah would have been read, and benches.Hachlili, Jewish Art and Archaeology, 182. The Torah Ark within the apse was aligned southwest, in the direction of Jerusalem.

The side chapels and the altar are arranged by leaf vein vaulted in the shape of a star. While the vault of the apse corresponds to the Gothic style, designed the main room of the Church largely Manueline style. In the apse, the tombstone with the inscription: Aqui jaz Dona Catarina, mulher de Garcia de Sá, a qual pede a quem isto ler que peça misericórida a Deus para sua alma (Here lies Dona Catarina, wife of Garcia de Sá, which asks for whom it read that ask mercy to God for her soul).Manoel José Gabriel Saldanha.

Around the building were comparatively short side arms, which were slightly protruding rectangular altars ending in a lowered semicircular apse. Ruins of the church in the village Veliky Bor (1809) The originality of the composition is given by a large light quadrangle towering over the center with a tetrahedral dome cover and a small dome on a cubic pedestal. A small refectory with one window on the side facades is adjoined by a preserved quadrangle of the bell tower. All facades of the building at the level of the apse cornice are bypassed by a profiled belt.

Two Gothic arches support the vault, consisting of simply crossed ribs. In the apse six ribs, resting on a clustered column, spring forth from the keystone. North of the apse is a sacristy the vaulting of which is supported by corbels with finely carved human heads. Above the sacristy is a lofty chamber, whose lower window looks onto the main church Both the mihrab (direction of Mecca) and minbar (pulpit) are on the right in this mosque It now functions as an art galleryLonely Planet Cyprus, By Lonely Planet, Josephine Quintero, 2012 and was previously a marriage registration office.

One of the first was on the nave dome of Hagia Sophia in Thessaloniki, and this eventually developed into the bust image known as the Pantokrator. Otto Demus writes that Middle Byzantine churches were decorated in a systematic manner and can be seen as having three zones of decoration, with the holiest at the top. This uppermost zone contained the dome, drum and apse. The dome was reserved for the Pantokrator (meaning "ruler of all"), the drum usually contained images of angels or prophets, and the apse semi-dome usually depicted the Virgin Mary, typically holding the Christ Child and flanked by angels.

The canons of Saint-Sernin objected to the transfer, but, in 1326 sold three houses to the hermits for the price of 3500 guilders in exchange of a part of the wax sheets received by the Augustinians for a burial. Jean Lobres, prime contractor of Toulouse's cathedral participated in the construction of the apse of the church. The layout of the church is typical of the southern Gothic style. The apse has three chapels that open directly onto the large, single nave, there is no transept, and in the upper parts, sections have been cut out.

It contained the emperor's crown and a number of holy relics, including the rod of Moses, and also served as a dressing room for the emperor. The southern apse led to the imperial bedroom (koitōn), through a silver door put in place by Emperor Constantine VII. The northern apse was known as the Pantheon, a waiting-room for officials, while the northwestern apse, the Diaitarikion, served as a steward's room, and was where the papias of the palace deposed his keys, the symbol of his office, after the ceremonial opening of the hall each morning. The main hall of the Chrysotriklinos was surrounded by a number of annexes and halls: the vestibule known as Tripeton, the Horologion (so named because it probably contained a sundial), the hall of the Kainourgion ("New [Hall]"), and the halls of the Lausiakos and the Justinianos, both attributed to Justinian II (r. 685–695 and 705–711).

Apse of the church Toledo Art Circle The Iglesia de San Vicente is a church located in Toledo (Castile-La Mancha, Spain), it appears as a parish already in 1125, although, there is documentation that speaks of its being founded by Alfonso VI shortly after his conquest of the city in 1085. The current building is the result of successive reconstructions, transformations and additions. Thus, the oldest element preserved is the apse which, by its structure, does not appear before the 13th century, following a type very similar to that of the Cristo de la Vega, in which the exterior stands out, and the straight section, which precedes the apse proper. It also coincides with that date the use of friezes in the corner, separating horizontally the bodies of arches, and the same typology of arches, which repeats the folded half-points and the horseshoe pointed, covered by lobed, appearing in the Legend of Cristo de la Vega.

Walls are generally sheeted with beaded weatherboards. The apse has a facetted roof, a pair of round-headed windows and a large entrance doorway. The windows of the clerestories are round- headed. The south or front gable has a large circular vent.

The room to the west was also used as a massage room, the unctorium. The room ending with an apse served both as a lounge and an exercise room. To the right there were hot baths and sauna: caldarium, tepidarium and sudatorium.

As a result, commerce was increased and the movement of people disseminated new lifestyles, among which was the Romanesque style. Shrines, cathedrals, and others, were built in the Romanesque style over nearly two and a half centuries. Apse of the Ripoll Monastery.

The main altar is built of polychrome marble and the apse contains wooden choir stalls. The main altarpiece is an Assumption of the Virgin (1762) by Claudio Francesco Beaumont.Comune of Racconigi, upload on Racconigi: Le Chiese, Le Confraternite, la devozione, (March 2013).

View of the church's apse from afar The Church of Sant Vicenç of Cardona () is a Lombard Romanesque church in Cardona, Catalonia, Spain. It was built between the years 1019 and 1040, and is located in the center of the Castle of Cardona.

Similar chambers can be found e.g. in Bro and Martebo churches. Remains of medieval stained glass panes exist in one of the church windows. In the south wall of the apse sits a niche with a pair of doors from circa 1300.

Its seven pools measured 9.5 m by 5 m (depth of 1 m). Only six of these remain. The seventh was replaced by a small apse during the restoration by Constantine. The Olympic-sized natatio pool measured 50 m by 22 m.

The chancel has a polygonal apse, which is rare for the late Gothic period. The church tower, although also from this period, was restored in the middle of the 19th century. The reredos, which depicts the Last Supper, is also 19th century.

The Latin cross plan ends in an extended apse with two side chapels. It has an octagonal cupula over the crossing. The cupula was likely constructed under the patronage of abbess Jerónima de Azlor (1609-1615). The Romanesque portal of the church (c.

The paintings in the apse are the work of Ignazio Cortis dating from 1873 while that on the ceiling and the dome are the work of Giuseppe Cali."Il-Knisja Parrokkjali ta' Kristu s-Salvatur", Local Councils. Retrieved on 25 February 2017.

The southern section is less important in addition to being smaller although it is similar in design to the western door. The decor includes protruding sculptured heads, of Norman origin, showing various imaginary animals. There is a small central window in the apse.

Iglesia de Santa María (San Antolín de Ibias) is a church in Asturias, Spain. Established in the 11th century, the nave is separated from the chancel by a large arch. The apse is divided into two areas separated by lines of imposts.

Interior view The building is an example of Romanesque-Lombard style of the 11th century. It is designed in the basilica plan with three naves. The nave is covered with a barrel vault. Under the apse was the main crypt, now in ruins.

A Romanesque church at the site is documented since 1220. The church was reconstructed and reoriented from 1589 to 1592, with further work in 1630 and 1826. The apse remains of the earlier church. The main portal (1594) is made from carved stone.

The facade has three doors which are framed by travertine marble. The church has three naves separated by pillars, with six side chapels. The apse is dominated by a large mosaic depicting the Triumph of the Church, by the Franciscan Belluno Ugolino.

Bell tower and apse of the abbey church Saint-Génis-des-Fontaines Abbey is a Benedictine abbey in Saint-Génis-des-Fontaines, Pyrénées-Orientales, France. It was dedicated to Saint Genesius and Saint Michael, to whom the surviving church is still dedicated.

I purchased the land, and took possession in March following. The church had additions built in 1845 and in 1903 (the cloverleaf apse at the left where the altar is now). Father Mosley and other priest are buried under the church floor.

The first three sites preserve the remains of some of the fallen in the battle. Finally, the Roman Baths (Ferrara and Lomuscio) located in the city center came to light in the 1950s. They have enriched apse mosaics. Roman inscription in the lapidarium.

Eine Einführung in das architektonische Werk. tuduv, München 1984, S. 378 Anm. 641 (Digitalisat). described Bamberg Cathedral as a model for the new church, with mainly relates to the exterior view to the east with the entrance apse flanked by two towers.

Santa Maria de Gerri. Tomb of bishop Ot de Urgell. Santa Maria de Gerri is a monastery in Gerri de la Sal, in the comarca of Pallars Sobirà, Catalonia, Spain, situated on the shores of the Noguera Pallaresa river. View of the apse.

The tympanum is decorated with two letters "A" inserted in an "O", and a mullion divides the entrance in two smaller, twin-arched portals. The South side of the apse is decorated by a beautiful, large mullioned window with late Gothic tracery.

History of Aluank. Book I. Chapter XIV. Amaras was the burial place of St. Gregory the Illuminator's grandson, St. Grigoris (died in 338). A tomb built for his remains still survives under the apse of the nineteenth- century church of St. Grigoris.

Apse, altar, choir and nave. Lower facade and Entrance portal. Portada del Evangelio inside church. Typically for the late Gothic style dominant at the time, the church has a single nave, with side chapels opening between buttresses, with a raised choir and transept.

St Margaret's was built in the 12th century and, other than the addition of windows in the 13th and 14th centuries, it remains almost intact. With its round tower, semicircular apse, and thatched roof, it is described as "an almost perfect Norman church".

As late as the mid-nineteenth century, the apse, the prothesis and the diaconicon, the bases of the columns, and a portion of the perimeter wall of the original basilica were still reasonably intact as was one of the adjoining lateral chapels.

Ecstatic levitation of San Giuseppe at the site of Loreto by Bocchetti Glory of San Giuseppe da Copertino at apse of church He frescoed the interior of the Basilica of Giuseppe da Copertino, Osimo.Website of San Giuseppe da Copertino church, entry on artist.

Traditional Deesis is depicted in the altar conch. Multifigure Eucharist is found in the upper part of the apse, and below it, bishops with open scrolls and deacons. Dominant colors are dark brown, blue, yellow and dark grey.Закарая, П. (1983) Памятники Восточной Грузии.

Also on the southern side is the unfinished Renaissance bell tower, in white and pink marble, attributed to Leon Battista Alberti and built in 1451-1493. The apse, in brickwork, has arches and marble capitals, and was designed by the Ferrarese architect Biagio Rossetti.

Interior. The mosaic running the whole length of the nave, sanctuary and apse is 12th century in date – it was commissioned by the first Latin archbishop of the city, Gionata. The bell tower next to the cathedral was also built in the 12th century.

Above these are symmetrical stained glass windows. All window and door entrances feature a round arch top. The church is built in basilica form, and contains a high altar at one end surrounded by a large rounded apse. The nave seats four hundred fifty people.

It originally consisted only of naos and polygonal altar apse. In 1831-32 a narthex with the gallery was added to the object. The icons were mostly painted by Dimitrije Posinković in 1851. During the 1885-90 reconstruction, a wooden bell tower was built.

The twelve statues in the niches on the tower are the work of James Pearse, father of Patrick Pearse and Willie Pearse. The stained glass in the apse is by Mayer of Munich. The windows are by the Harry Clarke studio and Michael Healy.

In the interior, the apses are decorated with 13th-century frescoes. Under the high altar is the crypt, with Roman columns. Under the main entrance is another room, which was carved out in the 13th century from the apse of the Palaeo-Christian structure.

In the 1890s a new school was built in Cove, and the building became solely a church. The apse walls are thought to have been originally painted in 1870. The paintings were subsequently covered up, about 1924, when it was thought they were too "Catholic".

Another reconstuction and reconsecration took place in 1747 by the bishop Antonino Serafino Camarda (1724-1754). The facade presently faces North-East. The interior has rich stucco decoration, including for capitals of the pilasters. At the apse, the walls have polychrome marble and gilded capitals.

The interior has three naves, with heavy pilasters flanking the central nave. The semicircular apse is elevated relative to the rest of the church.Chiese delle Diocesi Italiana, website, entry on church. The church suffered from recent earthquakes and in the 21st century underwent restoration.

The 54-meter- high concrete bell tower is the highest point of Lorient. Its top is reached by a staircase of 270 steps. Inside the apse, a fresco made by Nicolas Untersteller shows the Coronation of Mary. The statues of the church were made by .

The facade corresponding to the left aisle features a secondary portal, surmounted by a triangular arch. The apses are polygonal. In the right aisle is the sacristy, built in the 15th century. The left aisle apse was adapted to house a Baroque chapel from 1630.

Of particular interest is the 'priest's door' built into the side of the church with medieval carved stones on each side. Several other such carved stone can be found in the exterior of the apse. The church was towerless. The entire church is remarkably preserved.

The abbey of Saint Vincent de Besançon received it from the abbot and originally displayed it in a small chapel dedicated to Our Lady of Sorrows. The pulpit dates to 1459. The western apse has two levels. The first level has seven Romanesque windows.

Aldred, Cyril, Akhenaten: King of Egypt ,Thames and Hudson, 1991 (paperback), In later times, his tomb was turned into a Coptic place of worship for a whileRobins & Fowler, p.60 and suffered damage. A deep font for total immersion was placed before the apse.

Construction occurred in the first half of the 11th century. It consists of three naves with a central apse center and two side apses with cross vaults. It has a small bell tower with belfry. The facade was completely renovated in the 20th century.

The diaconal apse depicts the Hospitality of Abraham from the Old Testament. At the summit of the vault are trios of angels celebrating the chalice of the Eucharist. The figures are simplified with rigid folds in Byzantine style. Gold tesserae sparkle between blocks of colour.

Fountain in the monastery's wall. The Romanesque building dates from the 11th century. The small structures has a single nave covered with a barrel vault with a low rise. It has a semicircular apse decorated with lesena and blind arches typical of Lombard/Romanesque-style.

The Church of England parish church of Saint John the Baptist is a Georgian Baroque building of 1723. It has a nave, apse, and short spire. The interior includes original box pews and a west gallery. Honiley once had two wells associated with the church.

The chancel is relatively large and high, lacks an apse, and has a vaulted ceiling. The nave and chancel are connected by a pointed limestone arch. The sacristy ceiling is supported by a groin vault. There are three niches in the walls of the chancel.

The alleged türbe (tomb) of Hazreti Cabir (Jabir) in the south apse. The building is wide and long, and has a domed Greek cross plan. It is oriented in a northeast – southwest direction. It has 3 polygonal apses, and the narthex has been destroyed.

On the front facade, there is a bell gable with two recesses. Preserved in situ are some murals located on the arch and apse. There is a pediment with a bas relief depicting St. Paul and other paintings depicting the life of St. Paul.

The font, dated 1717, is in classical style and painted cream. It is by John Morfitt. In the apse on each side of the east window are panels containing the Ten Commandments and prayers. Also in the church are monuments dedicated to past incumbents.

In the western, tower façade there is a rose window. There are also Gothic windows with still extant stained glass from c. 1280 in the apse and the south façade, one of only a few instances of preserved medieval stained glass in Sweden in situ.

St. Bernward's Church is a basilica consisting of three naves, but unlike the other churches in Hildesheim, its apse and the altar are in the north of the building.Anker Twachtmann-Schlichter: Baudenkmale in Niedersachsen, p. 228. Hameln 2007. The church facades to the south.

The Saflieni phase temple rests to the north and is six and a half meters long. It is entered through the eastern apse of the larger temple. Smaller stones have been used in its construction and it exhibits irregularities in design considered archaic or provincial.

One of his greatest achievements was the enlargement and completion of the Cathedral of the Immaculate Conception by the addition of an apse and the erection of new sacristies and a tower. Bishop McNeirny died from pneumonia at his residence in Albany, aged 65.

The 13th-century church was enlarged during the 15th century and is all that remains of the monastery structures. The nave has been converted into a barn, and one wing of the transept is used for residential purposes. The choir and apse are ruined.

Architect William Kedo Broder designed a tall stone building in accordance with Mrs Haddock's proposals, and the first part of the building—the sanctuary and part of the nave—was opened in May 1879. In 1880 the sanctuary was enlarged and the apse was built.

The church has a rectangular nave and narrow choir with an apse which is semicircular. The baptismal font is from the 1500s and the altarpiece is from 1638. The altarpiece was painted both in 1862 and 1918. In 1950–60, the altarpiece was restored.

The city was destroyed by a fire in 1809, from which only the Protestant church, the castle and a few other edifices escaped. The Protestant church's construction finished in 1541; it has a characteristic sundial in the apse. The castle was reconstructed in 1935.

The church is built in sandstone ashlar both externally and internally. It has a clerestory and a chancel with an apse, the chancel being higher than the nave. At the west end are three small lancet windows with stained glass by Edward Reginald Frampton.

The nave is 39 m long, while the apse is 15.30 m high. Its organ dates from the 18th century. In the 19th century, the church was renovated by Paul Abadie. The former Benedictine abbey now houses the École des beaux-arts de Bordeaux.

Apse, dome and bell tower of the Cathedral of Padua. The Basilica of Santa Maria Assunta stands between the episcopal palace and the Baptistery. It is a Latin cross with three bays and an octagonal dome. The dome of the Glory is covered in lead.

A campanile was built on the right hand side of the apse in the 20th century, a square Baroque tower with pale yellow walls and white architectural details. The large open sound-holes are balustraded, and there is a double pagoda cap in lead.

The Rotonda of San Tomè. View of the interior towards the apse. View of the matronaeum. The Rotonda di San Tomè (Italian: Rotunda of St. Thomas) is a church in the comune of Almenno San Bartolomeo, in the province of Bergamo, Lombardy, Northern Italy.

The interior has two saucer domes and an apse. The altar itself has marble flooring and four red carpets. It has four seats either side for the Altar servers to be seated. At the back of the altar is the Tabernacle, and eight candles.

The three windows of the apse date from 1960 and depict themes of service and sacrifice, while the insignia around the edges represent the American states and the US armed forces. The limewood panelling incorporates a rocket—a tribute to America's achievements in space.

The site had a grotto used by Francis for prayer.Comune of Apiro, Tourism entry on church. The Romanesque and Gothic style stone church retains traces of frescoes from the late 15th century in the apse. A façade and nave wall collapsed during the 2016 earthquake.

The tile panels placed high in the prayer hall are inscribed with ayats (verses) from the Quran. The mosque has only one minaret with one gallery. There are 247 windows including the 24 of the central dome. The mihrab is in a square projecting apse.

Apse of the ruined Great Basilica, Antioch in Pisidia. Floor late 4th century; walls 5/6th century. Semi-circular interior, polygonal exterior. In the late 4th century the dispute between Nicene and Arian Christianity came to head at Mediolanum (Milan), where Ambrose was bishop.

The central nave is tall and long and ends in a circular apse. The façade has sculpted architraves. The interior appears to have repurposed ancient Roman columns. In 2011 was declared a UNESCO world heritage property as part of seven sites recalling Lombards in Italy.

The White Church is typical of the Raška architectural school. It has three bays and is topped by a cupola. The eastern part of the church has a semi- circular apse with a stone iconostasis. The narthex dates back to the late 19th century.

The shrine is a Latin cross, characterized by a side wall and an apse hexagonal. The mullioned windows are Gothic style. Inside there are frescoes modern and original chapel of the saint carved in the rock. The church is located after crossing the square.

By 1954, a new high altar had been erected, and the vaults and apse had been repainted. The southern cloister and the eastern and southern wings were renovated. The local painter Hans Kaiser created windows for the westwerk and secondary crypt.St. Patrokli 954–1976.

A pseudo-trefoil window is part of the apse. There are white columns and arches, as well as rose-coloured tiles. A small skeuophylakion adjoining the church was built in 1684. Its broad esonarthex barrel vault was built in 1689 and embellished in 1692.

Due to safety concerns, the apse was recently demolished. Under the architraves of the doors are carved heads of owls made into bracket supports. On each side are reliefs in the form of lions in the act of climbing. An inscription bears the date 1519.

Small neoclassical style church erected in 1808 by Mons. Francesco Gazzoli, as the site of the old sacristy Oratorio del Pio Suffragio. It contains three naves and a semicircular apse. The interior of the church is painted by artists Nicola Benvenuti and Mario Barveris.

The external bell tower was built in wood in 1727. The windows of the church were also enlarged during the 18th century, and a round window in the apse inserted during the early 19th century. The tin roof is similarly from the 19th century.

Donatello Stefanucci (1896 – 1987) was an Italian painter, active in his native Marche region, painting landscapes. A number of his works are on display in the Pinacoteca Civica of his native Cingoli. He frescoed the apse of the Cingoli Cathedral. He died in Fano.

The church was renovated and extended in 1915 by contractor J.C. Hobbs of Brisbane, to a design by R Coutts and Sons. The main change was construction of a new apse of brick and two side sacristies; to connect the apse, an arch was cut in the stonework of the rear wall. Two side windows of the church were converted into double doors and the remaining six pairs were altered to allow them to be openable. A new altar rail was installed and a new porch was added at the front, floored in black-and-white tile and containing a leadlight window by Extons.

The church has an early 13th-century wall painting of Christ in Majesty above a procession of Apostles. When restoration work was carried out in 1868 the red ochre fresco paintings were discovered under the plaster which the covered the apse wall. The painting of Christ is above the east window and below this are two groups of six apostles. The left group is headed by St. Peter and the right by St. Paul, the patron saints of the church. Two and a half of the twelve apostles were in fact ‘lost’ when a window was pierced in the south side of the apse in the 15th century.

The walls are covered by semi-columns, friezes and cornices of various styles. High altar The high altar in the apse is formed by a marble mensa with a tabernacle and flanked on each side by a statue of a kneeling angel. The half-dome above the altar was decorated by Giovanni Bevilacqua (early 1900s) and the fresco represents Christ triumphing over Paganism with the inscription "Vicit Leo de Tribu Iuda" (Book of Revelation 5:5) Fresco in the apse "Christ triumphing over Paganism" by Giovanni Bevilacqua When entering the church, one finds on the right the baptistery. The marble baptismal font came originally from the church of St Nicolò.

Originally the east front simply had a bowed apse with Tuscan Doric pilasters, however the bowed apse has since been boxed in by the portico on which the spire was built. The pediment on this portico is inscribed the date "1835", the year of the church's foundation. The north, south and west porticos were designed to allow horse carriages to pull into the porches, where ladies may then alight and step directly into the church without soiling their dresses. Coleman's design is adapted to suit Singapore's tropical climate; for instance, the wide verandahs give shade and protect the timber-louvred windows on the ground floor from heavy downpours.

View of the interior and the medieval murals The oldest parts of the present stone church are from the middle of the 12th century, but remains of an older, wooden church have been found in the church. The broad west tower, the nave, chancel and the apse are the oldest parts of the presently visible church. The apse of the church is unusual in that it is comparatively richly decorated with pilasters dividing it into several sections. In the 14th century, a church porch was added in front of the tower entrance, and the interior was rebuilt during the 15th century, when the presently visible vaults were constructed.

The Metropolitan bishop's cathedra at the Church of Saint Gregory Palamas, Thessalonika, following the Eastern practice. Russian Orthodox kafedra in the center of the nave with its Eagle rug (orlets) stasidia at the basilica of Hagios Demetrios, Thessaloniki. Cathedra (19th century) showing arms of the Episcopal Diocese of Pennsylvania, at Church of the Good Shepherd (Rosemont, Pennsylvania) The early Christian bishop's throne, or cathedra, stood in an elevated position behind the altar, near the wall of the apse. It had been the position of the magistrate in the apse of the Roman basilica, which provided the model type--and sometimes were adapted as the structures--for early Christian basilicas.

Apse roof, depicting Christ in Majesty surrounded by angels The semi-dome of the apse is a copy of one of Salviati's mosaics, depicting Christ in Majesty surrounded by angels. Either side of the arch are elaborately decorated vertical panels which include figures bearing scrolls inscribed with the motto of King's College, (With Holiness and Wisdom), and other Christian inscriptions. The spandrels of the arches on each side of the nave feature the painted heads Doctors of the Church, and four 16th- and 17th-century Anglican Divines. These appear to have been an afterthought, as they do not feature in the original Gilbert Scott drawings.

Apse The great altar is a marble monolith covered by a 15-metre- high canopy. At the back of the apse, under an image of the Virgin in the mystery of the presentation of Jesus in the temple, is found the episcopal throne, made with Roman marble blessed by Pope Pius XII to signify the links of faith and devotion of this church of Menorca to St. Peter's Basilica. In 1953 Pope Pius XII gave the cathedral the title of minor basilica. From 1987, the seventh centennial of the conquest of Menorca by the Crown of Aragon, a new plan was undertaken for the restoration and development of the cathedral.

Thomas Hellyer, who was based in Ryde, was a prolific architect on the Isle of Wight. He designed many churches there and on the mainland, as well as other buildings, and his output has been described as "remarkable" and "very individualistic". Holy Trinity was the largest of his churches on the island, although it was not built fully to his original design: cost constraints meant that a small apse at the east end had to replace the large sanctuary he intended. Consideration was given after World War I to demolishing the apse and building the sanctuary as originally planned, as a war memorial, but this was not done.

The fabric of the first three stages is critical to the cultural heritage significance of the church, while the fourth stage is important for its form but not for the materials used. The first stage of construction is represented in the stonework up to floor level in the nave and apse, comprising random rubble to about one metre above ground level. The second stage comprises the walls of the nave and apse above floor level, including the rounded archways and the coloured concrete block quoins, and reflects the Byzantine influence in the original design. The walls of the nave are approximately high and it is approximately long by wide.

A fresco in the patron niche. The church is situated at 4 km from the small town of Boboshevo. It is a small one-nave edifice with internal dimension of 4,15 m to 2,66 m and height of 5,50 m. It has a semi-round apse which is 1,38 m wide and 0,70 m deep. On the eastern side to the left of the apse there is a semi-round niche (0,45 x 0,52 x 0,37 m) and on the northern side - a rectangular one (0,20 x 0,20 x 0,25 m). The entrance is to the west and is 1,85 m high and 1,25 m wide.

Work began on the church in 1438 and was probably completed three years later, though certainly by 1443 when it was consecrated by Pope Eugene. Using the perimeter of the former Trecento church, Michelozzo added a polygonal apse, similar in form to that at Bosco ai Frati; it was lighted by three long round arch pietra serena windows which can still be seen in the upper story of the convent. The pointed entrance arch rested on two pilasters with large, classical Corinthian capitals surmounted by a dado decorated with the Medici balls (also still visible). In front of the apse was the Capella Maggiore, covered with groin vaulting.

The rotunda is build of flat limestone chops that create an internal and external front, with circular layout with a semicircular and oriented apse. The space between the fronts is filled with rubble and crushed stone joined by lime mortar. A circular nave is covered by a dome made of concentrically arranged stones, the apse is covered by a semi- dome. In the north part of the nave there are one-way stairs leading to the gallery - a kind of a balcony supported by columns and semi-columns (located from the western side) - placed in a wall that in this spot is 1.75 m thick.

The monks of Pomposa migrated to San Benedetto, Ferrara, 1650, leaving the abbey unoccupied. In the 19th century the abbey was acquired by the Italian government. Frescoed nave of the abbey church The church of Santa Maria is an example of a triple-nave Ravennan Romanesque-style basilica with arcaded aisles and carpentry rafters, originating in the 7th-9th century, and sequentially enlarged as the abbey grew in power and prestige, attaining its present aspect, with a segmental apse, in the 11th century. The interior contains a 12th-century Cosmatesque and mosaic inlaid stone pavement, and frescoes in the apse by Vitale da Bologna and his assistants;C.

Church of the Holy Saviour The Church of the Holy Saviour or Sveti Spas in the UNESCO World Heritage town of Nesebar, Bulgaria, is a 17th-century church building of 1609, 11.70 m long and 5.70 m wide, consisting of a single nave and apse. Although small, it is notable for its early 17th century wall paintings representing scenes from the Life of Christ and the Holy Virgin, with a painting of the Virgin Platytera in the apse. The tombstone of the Byzantine princess Mataissa Cantacuzina, formerly here, is now in the Nesebar Archaeological Museum. The church itself is de-consecrated and is also used as a museum.

Architect Hermann J. Gaul, a native of Cologne, and an admirer of the Cologne Cathedral, designed the church in the late Gothic Revival style.Bodenhamer and Barrows, p. 1180. St. Mary's follows a cruciform plan with a narthex and semi-octagonal apse. Its walls are dressed in stone.

The church organ was constructed by Carlo Traeri in 1687. In 2014, the instrument was not functioning. The frescoes on the walls around the main altar delineate an apse, with an elaborate altar panel with Solomonic columns. The decoration has a number of trompe l'oeil decorations.

The church layout now has a single nave. The presbytery is elevated to accommodate the crypt, and the apse has two large chapels.Tourism of Macerata , entry on abbey church. The crypt is the jewel of the site, with seven naves densely populated by columns and pilasters.

Frost (2009), p. 30. Around the same time, the central apse was developed into a single- story chapel while the altar and reliquary were moved into the chancel. Josceline was excommunicated by Archbishop Thomas Becket in 1170, ostensibly for having assisted in the coronation of son Henry.

The complex consists of a spacious one-nave, one-apse church with an emporium (balcony), a triple narthex with a bell tower above it and a residential building. In the courtyard there is a huge centuries-old oak tree, estimated to be over 600 years old.

The parish church in the settlement is dedicated to Saint Elizabeth. It was first mentioned in 1308 and rebuilt in the 15th century. It has a rectangular nave, added chapels, a three-sided apse, and a southern belfry. It belongs to the Roman Catholic Diocese of Celje.

The church is constructed in brick, and has one dome. It has a single apse and four square columns. This design is typical for pre-Mongol Novgorod churches. There are two auxiliary chapels of different size flanking the main building from the south and from the north.

She did not restrict her patronage to the monastery she founded, however, extending her wealth to various churches and communities in the county. This dedication has led Ruiz-Domènec and others to identify Oria as the donor figure in the apse fresco of Sant Pere del Burgal.

Diameter of the towers is about 4.5 meters and thickness of their walls is about 1.8 meters. On the eastern side of the church an apse is attached. The facades are covered with numerous ornament elements. The church has one entrance located on its western end.

The arcades between the nave and the aisles are carried on slender piers. At the west end of the church is a gallery carrying the organ. At the east end of both aisles is an altar. The ceiling of the apse has painted and stencilled decoration.

Crosses are located at the peaks of the three gable ends. The rear of the church has a hip roof. The interior plan features a larger central nave that is flanked by side aisles. The apse, which appears rounded on the interior, is squared on the exterior.

The 15th century Portuguese artist Nuno Gonçalves depicted him in his Saint Vincent Panels. A small fresco cycle of stories of St. Vincent is in the apse of the Basilica di San Vincenzo near Cantù, in northern Italy. San Vicente Mártir arrojado al muladar. Escultura en alabastro.

Exterior of the church Santa Maria Maddalena Santa Maria Maddalena is a church in Castiglione d'Orcia, Tuscany, central Italy. The church, in Romanesque style, has a single nave, ending in a semicircular apse, and a 12th-century bell tower. The facade dates to the 13th century.

On 16 June 1683, King Louis XIV of France visited Besançon. He stayed at the Palais Granvelle, together with the Queen and the Dauphin, and visited the cathedral. In 1724 the bell tower collapsed. The apse of the Holy Shroud was built in its place in 1730.

The facade is decorated by emotive statues of saints and two angels holding a heraldic shield. The angels were sculpted by Angelo Putti, and some have attributed all the statues. Behind the facade is an oval layout with two lateral chapels. The apse contain wooden choir stalls.

Barlingbo Church nave The presently visible church was finished c. 1280. It was however preceded by another church, whose foundations have been discovered under the floor of the present one. The oldest parts of Barlingbo Church are the choir and apse. These have been dated to 1225.

It is distinguished by the tympanum of the central portal, which has been saved. This was restored behind the current facade. With four bays, the nave joins the transept by a remarkable lantern tower rising to . The plan of the apse has an excellent and rare disposition.

Iprari is a small and simple rectangular edifice with the dimensions of 4.75 × 2.6 m2, ending in an apse to the east. The church is built of well-hewn yellowish pumice square blocks. Facades are simple, decoration-poor. The only entrance is located on the west.

Also preserved in the modern church are the sill of the left entrance to the atrium, basalt paving stones, and part of the apse frieze. The foundations of the original 4th- century church can also be seen under a glass panel to the right of the altar.

On the sides of the gallery there are rooms. Also built was a vestry and gallery, opening portals to communicate the apse with the funeral chapels. Decades later these were replaced with three naves of the church, resulting in a single nave church covered with barrel vault.

The cathedral is constructed of native Iowa limestone, trimmed in Indiana limestone. It measures . with It is a basilica-plan church with a rounded apse on its east side. There is a small vestry on the north side and a small vestibule on the west side.

Altar with stained-glass window in the Pazzi Chapel in Florence. In architecture, the scarsella is a small apse with a rectangular or square plan which protrudes outside the main structure. The term scarsella, in ancient Florentine, means "purse", in particular the leather purse for money.

The bell tower collapsed in 1405 and was rebuilt in 1425. In 1670–1672 the apse was rebuilt and extended. The building was abandoned and allowed to deteriorate during the Revolution, but it was reconsecrated in 1822 and restored by the archbishop Célestin Dupont in 1835–1842.

Romnes church (Romnes kirke) is a Romanesque stone church. It was built between 1150 and 1250. The church was constructed of stone joined with lime, while the corners consist of limestone. The apse and nave has a flat ceiling, while the choir has vaulted wood ceilings.

The apse had to be rebuilt in 1712, likely a design by Francesco Gallo. The bell- tower was added in 1825. Between 1743 and 1753, the monastery was nearly completely rebuilt after large fire, in a design by Giovanni Tomaso Prunotto. It is now privately owned.

The façade was started in 1619-1624 by Francisco de Figuerola. Work continued on the sacristy, various chapels, and the bell- tower into the later half of the 18th century. From 1789 to 1805, Bartolomé Rivelles worked on the apse. The interior was decorated in Neoclassical style.

The Nativity Façade is dedicated to his birth; it also has a cypress tree which symbolizes the tree of life. The Glory façade is dedicated to his glory period. The Passion façade is symbolic of his suffering. The apse steeple bears Latin text of Hail Mary.

Each transept has an aisle to the east, forming three chapels. The church at Bayham Old Abbey had no aisles in the nave or the choir. The latter terminated in a three-sided apse. The church is remarkable for its extreme narrowness in proportion to its length.

Nave roof has tie beam woth three decorative pendants, supported by curved brackets and carved wooden corbels. Queen posts with arch braces to purlins and curved brackets forming mouchettes in spandrels. Apse roof semi circular with common rafters. Plain deal 19th century pews, communion rail 1898.

On the western side of the octagon the lofts are even double storied with an additional upper organ loft. The building weathered the Second World War intact. In 1961, the interior was renovated. On this occasion the altar was drawn from the apse into the prayer hall.

The specifications of the basilica are: \- the length from the beginning of the stairs to the end of the apse - 84,8 m. \- the length of the interior of the basilica - 69 m. \- the height of the main nave - 16 m. \- the width of the church - 18 m.

Tipe dei Successori Le Monnier, 1889, page 337. now at the church of San Venanzio in Camerino. In 1889 painted the fresco murals of the apse of the church del convent of the Passionists at Sant’Angelo in Pontano with scenes of the life of the Virgin.Enciclopedia Treccani.

The sacristy located to the north is known as prothesis and that to the south as diakonikon. These chambers are directly connected with the apse or bema by doorways. They account for the triple apses which became current in the Byzantine church architecture in the 9th century.

The bell tower is separate from the church and dominates the square. The interior is spacious and has a sober elegance. The Chapel of the Blessed Sacrament, in the apse, can be hidden from the nave by a large curtain. Only this chapel has figurative stained glass.

Cathedral oriented to the east. The arrow indicates the west front entrance. Within church architecture, orientation is an arrangement by which the point of main interest in the interior is towards the east (). The east end is where the altar is placed, often within an apse.

Ermita del Cristo de la Vega Ermita del Cristo de la Vega Apse The Ermita del Cristo de la Vega is a hermitage located in Toledo, Castile-La Mancha, Spain. It was built on the remains of the Visigothic Basílica de Santa Leocadia during the 7th century.

E2, in the northern part of E, is near- square, with one apse-like side. It is suggested that it was altered around 2500 BC, long after it was erected. Materials from the chamber included arrowheads, knives and scrapers. Coarse round-bottomed pottery was also present.

The grand altar is carved from 36 tons of Carrara marble. The pavements surrounding the altar, and the steps, are all of white Italian vein marble. The apse is decorated with blue and gold ceiling panels. The flooring of the church is in white and black marble.

The House of Lords chamber. In the apse on a dais is where the Lord Lieutenant's throne was placed. The Woolsack was used by the Lord Chancellor when chairing the House of Lords. Much of the public ceremonies mirrored those of the British Houses of Parliament.

However, soon the monastery fell again into ruin.website curated by Antonio Gumina. The adjacent convent has been in ruins since the 16th century. The layout of the church has three naves each ending with a semi-circular apse and supported by brick or stone pillars or columns.

The work was completed in 1894 but as early as 1880, the vaults of the apse, the choir and transept were completed. BOUGOUIN François, who took over from Boismen in 1891. The sanctuary is accessed by a wide staircase of eight steps overlooking Piazza San Similien.

Paolo Marini (18th century) was an Italian painter. He was born in San Severino. He is noted as a painter in the apse of the church of San Filippo, San Severino Marche.Memorie storico-critiche dei pittori anconitani dal XV al XIX secolo, by Corrado Ferretti, page 48.

Its eastern wall has an apse. On the west side, an arch opening leads to the western part of the southern section. The eastern part features wall decorations and friezes on the arches and apse's niche. Corinthian helmets decorate all the buttresses except those facing west.

The façade has three arches, two of them walled up. Above the center rounded arch is a mullioned window. The apse has a sail-like belltower. The interior has traces of frescoes, but houses an 18th-century canvas depicting Life of Santa Illuminata by Giovanni Andrea Lezzerini.

Pisa Tourism Office, entry on church. The interior has a nave and two aisles, and had once an apse destroyed in the 15th century. It houses remains of frescoes and sinopias from the 12th-13th centuries; the fresco and stucco decoration is from the 18th century.

It was a building of great proportions, with striking the remarkable artistic quality of the trace, with a succession of polibulates arches, Gothic windows and horseshoe pointed arches surrounding the apse and a splendid triumphal arch, with bicolor dovelaje, to the Caliphate taste, in the chancel.

The church was constructed of stone masonry under a tiled roof. Its front exterior includes a bell tower attached to an independent narthex. The narthex is structurally attached to both the nave and an adjacent monastery building. An apse is located at the nave's east end.

Apse mosaic of the Virgin and Child The mosaic in the semi-dome above the apse at the east end shows Mary, mother of Jesus holding the Christ Child and seated on a jewelled thokos backless throne. Since its rediscovery after a period of concealment in the Ottoman era, it "has become one of the foremost monuments of Byzantium". The infant Jesus's garment is depicted with golden tesserae. , who had travelled to Constantinople, in 1672 engraved and in 1680 published in Paris an image of the interior of Hagia Sophia which shows the apse mosaic indistinctly. Together with a picture by Cornelius Loos drawn in 1710, these images are early attestations of the mosiac before it was covered towards the end of the 18th century. The mosaic of the Virgin and Child was rediscovered during the restorations of the Fossati brothers in 1847–1848 and revealed by the restoration of Thomas Whittemore in 1935–1939. It was studied again in 1964 with the aid of scaffolding. It is not known when this mosaic was installed.

Although often referred to as a 'Greek Cross' church, this building does not really fall into this category, as it has no projecting 'arms' or transepts, only a single apse on three sides, and a triple apse to the 'east' (the church is not aligned to the compass points). The triple apse would not appear to have been mirrored to the 'west' where the entrance was and is to be found, subsequent alteration has made it impossible to determine whether there was originally a narthex. The church is also architecturally quite distinct from the Palatine chapel in Aachen, and from S. Vitale in Ravenna – two buildings upon which it is often claimed that SS.Geneviève & Germain is modelled – in that it is square rather than round, has exterior apses and is constructed differently. This is rather a rare survival of a very early form of Western European church, pre-dating and perhaps contributing to the development of the Romanesque which forms the majority of ancient churches in France and, indeed, in Western Europe.

The original church of 1873 was built in the American Gothic Revival style with a chancel terminated by a polygonal apse. The structure was dedicated on June 8, 1873.Brodeur, pg. 8 St Louis, as it is more commonly known, is the oldest remaining Catholic parish in Nashua.

The interior is highly decorated. In the apse are two canvases depicting the Annunciation and Incarnation, while below are statues depicting the Risen Christ and the Virgin Mary. The main altar has a large marble ciborium with two flanking angel. The ceiling of the tall nave has large frescos.

In 1767 the southern transept was built, and at that time the apse was also demolished. The northern transept was built in 1834, and the interior of the church equipped with a barrel vault. The northern church porch was also demolished. The church underwent a major renovation in 1910.

The church has a single nave with lateral altars. Restorations in the 20th century uncovered frescoes in the apse and nave walls attributed to Cola di Pietro. A fresco depicting the Madonna della Misericordia is attributed to Girolamo Di Giovanni di Camerino.Commune of Pievebovigliana, entry on the church.

Dynamic figures are clearly outlined, painted predominantly in light colors - blue, grey, purple. Every fold of clothes is meant to show movement, like in the figure of the angel. The western apse also contains portraits of the kings and nobility who supported the construction.Закарая, П. (1983) Памятники Восточной Грузии.

Since 1995, this has been the co-cathedral of the diocese of Barbastro-Monzón, along with the Barbastro Cathedral. The initial church was built in Romanesque style, but modified across the centuries. The apse has components of Gothic style. The church was made a collegiate church in 1607.

This brick church is oriented with apse in the east, and located in an awkward hillside. A church at the site was likely in place by the 10th century. The portal has receding round arches within an acute angle frame. A second portal opens to Via Santa Maria.

The current church was built in the late fifties inspired by a mixed Romanesque style, replacing a smaller temple. It has two towers, three ships and cruise, two domes and an apse. It is consecrated in 1969 and declared a heritage site at the municipal level in 1996.

Retrieved 13 July 2012. The large north transept was added in 1911. Although some local sandstone and fieldstone has been used, the predominant building material is limestone which in particular has been used for the door and window frames. The apse ceiling consists of a half-dome vault.

It featured a large apse in the centre, flanked by two smaller apses. The middle nave was divided into two squares by four identical columns. The narthex, which lay in the church's western section, accommodated a diaconicon and a prothesis. A baptisterium was located in the church's southern section.

The municipality's parochial church, in the Romanesque style, is dedicated to Sant Martí. It was constructed in the 12th century. It has a single nave with apse. It also has a later, hip-roofed bell tower, and conserves a baroque altar and other neoclassical elements in the interior.

Above the central wall of the apse is a carved oak canopy. Between the nave and the transepts are carved oak screens. The walls of the nave are plastered but uncoloured. The pulpit is incorporated within the southern screen; it is polygonal and supported on a carved corbel.

The chapel contains a painting by Pietro da Cortona called the Ecstasy of Saint Monica (Estasi di santa Monica). The apse is dedicated with frescoes of the 16th century. The basilica, center of a parish dating from the Paleochristian age, has been a titulus since the 12th century.

Each transept has a rose window above three smaller lancet windows. There are gables above the windows over the aisles and above the polygonal apse, with Greek crosses carved into them. The tracery is decorated, including the large west window. It has geometric tracery with an arched doorway below.

Even though it was not canonically crowned, it was covered in silver riza and attracted votive offerings. This painting of the church's founder, Michał Kazimierz Pac, hangs in the apse. During the wars with Russia in 1655–61, the monastery was burned down and the church was destroyed.

The Capuchin order returned and reconsecrated the church in 1903. During restorations in the 1971, a large fresco was found in the apse, depicting the Annunciation. The work is attributed to two friars, Franceschino and Manfredino Baxilio, and dated to 1484. Of the fresco, only the Virgin remains.

The apse, the walls and most of the internal columns were finished in the 11th century; the barrel vault of the aisles and the upper parts of the side walls were built in the early 12th century, while the façade was completed in the middle of that century.

In the middle of the apse are two ruined frescoes, depicting St. Simplicius and Victor of Fausania, who was bishop of Olbia after 595 and is considered a saint only in this city. Under the altar are the relics of Simplicius, discovered in 1614 while excavating the church's crypt.

At the east end is a shallow apse. The tower, in neoclassical style, is at the west end. The date 1702 is picked out in glazed bricks on the tower, either side of the clock face. On its west face are two round headed windows, one above the other.

The single nave leads to an apse which contained a grate by which the cloistered nuns could receive the eucharist. On the walls and main altar are canvases painted by the Zuccari depicting the life of the titular saint. The monastery was ultimately suppressed in 1892.Umbria Tourism, website.

The matter was sufficiently controversial as to be discussed at the General Assembly in 1912. Blanc designed the wooden chancel stalls. The choir stalls in the chancel have scroll-topped ends, similar to the pews of the nave. The elders' stalls in the apse display more elaborate Renaissance details.

Second from left: St. Euphrasius with model of church. The central mosaics between the windows of the apse represent the Annunciation and the Visitation. In the Annunciation mosaic an angel raises his hand to indicate a message. In his left hand he holds the staff of a messenger.

The interior of the church has a central nave and two aisles. The sanctuary is backed by an apse with transepts on either side. Under the altar is a block of limestone found during excavation, that is venerated as the stone on which the miraculous meal was laid.

The main chamber was located underneath the dome. The Aron Kodesh ark was on a pedestal behind a parokhet curtain in an apse. Above the ark, the tables of the Decalog were supported by two stone lions. Behind it were large organs and the choir of 100 members.

There is a door in its western facade. A small building housing toilets is immediately adjacent to the northeast corner of the nave. Random rubble stonework is largely exposed on the interior of the church, as are the blockwork quoins. The porch, nave and apse have unpainted timber ceilings.

San Pietro in Valle is a medieval abbey in the comune (township) of Ferentillo in Umbria. Apse and bell tower. 1967 photo by Paolo Monti. The Romanesque church houses some particularly fine Roman sarcophagi; the walls of the nave are decorated with a large cycle of good Romanesque frescoes.

V. L. Ianin, "Medieval Novgorod" in The Cambridge History of Russia: From Early Rus' to 1689. Vol. 1 (Cambridge: Cambridge UP, 2008), 208-209. Two prominent styles of churches existed in the Republic of Novgorod. The first style consisted of a single apse with a slanted (lopastnyi) roof.

14 The initial Byzantine church was rebuilt by Crusaders in the 12th century. Today, the apse with its three arched windows and half-dome ceiling are still intact.Eleutheropolis - (Bayt Jibrin) Studium Biblicum Franciscanum - Jerusalem. 2000-12-19. The wider area of the Shfela has been inhabited for much longer.

These rooms are now partitioned into office workspaces and meeting rooms. The interiors are plain with stop-chamfering to doors and window frames. The apse stair has stop- chamfered newell posts with ball and half- ball tops and plain rectangular timber post balustrading. Much of the joinery survives.

San Miguel de los Navarros. San Miguel de los Navarros is a church in Zaragoza, Spain. It has a single nave with side chapels, a polygonal apse and a bell tower, located at the northern side. The church and its bell tower are notable examples of Mudéjar architecture.

The Wesleyan chapel was completed in 1807.Date stone on building It is now Freeland Methodist Church. Inside the chancel of St Mary the Virgin parish church. One critic described John Loughborough Pearson as the only English architect of his era whose use of the apse was successful.

The chapel is built in buff sandstone with a grey slate roof. Internally the stone is in pink and buff bands. Its plan consists of a five-bay nave that is continuous with a three-bay chancel. The chancel terminates with a three-sided apse containing the altar.

The sober façade, once preceded by a portico, has seven windows and a portal. Notable is the external decoration of the choir's windows. There are also Romanesque bas-reliefs and, in the apse, a notable cycle of mid-14th-century frescoes. Under the high altar are the Abundius' relics.

A church at the site is documented since 1154 as belonging to the Abbey of Pomposa. The church underwent reconstruction around 1490. The simple stone and brick structure has a single, rectangular nave, with a square apse. The bell-tower arises awkwardly from a corner of the facade.

St. Mark's Chapel is off to one side for smaller services and ceremonies. Along the walls of the apse are six stained glass windows. Each depicts two angels in the transom and a scene from the life of St. Peter below. There are smaller windows in the aisles.

Wooden side altar of the Annunciation of the Blessed Virgin Mary, 17th century. The temple is three-nave two-towered basilica without apse with a transept. The main facade with two towers on the sides decorated with rich plastics: pilasters, engaged columns. The interior covered with barrel vaults.

Although the ruins are scattered around, only three building are partially standing. The building just next to the road is thought to be an early Byzantine church. Two walls as well as the apse are standing. The Hellenistic temple is further to west and located on a hill.

They are heavily damaged, including an image of the Mandylion, labelled as "the Holy Face of God" and surrounded by the Apostles, above the apse window. The image may have been influenced by the Abgar Legend and have influenced Georgian depictions of the Mandylion in the following centuries.

The interior was plastered and the building completed by 1874. It remained unchanged until 1900 when materials from the main house were used for repairs. Materials from the parlor were used as that is where the family had held devotions before. This is when the apse was added.

The ornament of the apse floor is adorned in three color stones. Fine ornamentation covers cornices. West of the church stands a bell-tower built in a defensive wall which encircles the entire complex. Constructed in the 17th century, it is a three-storey structure, measuring 7.4 × 6.8 m.

Mannucci, p. 16. The cathedral was named the Cathedral of the taking up of the body (Assumption) of the Virgin Mary into heaven. The edifice was damaged by the large earthquake of 26 November 1545, and the apse began to subside, a problem which persists to the present day.

It was likely finished by 1260. The western towers were raised by one floor shortly thereafter. In around 1330 the high-Gothic polygonal east choir was built, requiring the destruction of the Romanesque apse. Additional floors were added to the western towers in the 14th and 15th centuries.

The church consists of three parts. The central block is square in plan and comprises the nave. Two other blocks contain the double apse and the narthex. Between 1678 and 1711, the church was renovated: the interior was frescoed, the octagonal structures built up, and a new belfry appeared.

The monastery was successively ruined, re-built and partly set on fire in 1216. On June 12, 1384, Bishop of Auxerre consecrated the church, which had been used without consecration for more than a century. In 1523, the apse of the church collapsed due to a lack of maintenance.

The stone façade was inspired by the Church of the Gesù in Rome. The structure of the church consists of an aisled nave of seven bays and built-in choir with one bay and an apse. The building was constructed with bricks while sandstone was used for the façade.

Before that time there was only one apse. In the churches in central Syria of slightly earlier date, the diaconicon is rectangular, the side apses at Kalat-Seman having been added at a later date. It can also refer to the liturgical book specifying the functions of the deacon.

He also designed the baptistery in the 1440s. He built it next to the southern apse in the form of a quatrefoil. The upper part is covered with lacelike sculptures, the first Renaissance sculptural work in Croatia. The flat niches are vaulted with corrugated seashells of St. James.

The Nakipari church is built of limestone blocks. It is a hall church, set in a rectangular plan, with an inscribed semicircular apse on the east. The church is based on a single-step socle. Its walls terminate with simple profiled cornices made of small hewn stone slabs.

The aisles have matronaea with statical function. The four chapels in correspondence of the second and four spans of the aisles are a later addition. under the apse, which has a large 16th-century fresco, is the high altar (1383) housing the remains of Sts. Ennodius and Eleucadius.

Intrincate Manueline ribbed vaulting of the main chapel. The inner walls of the apse are decorated with 17th-century blue-and- white tiles (azulejos) with geometric patterns, while the azulejos on the side walls of the church depict scenes from the life of Maria, bordered by colourful frames.

The outer, middle, and inner niche on each side was circular and deep, while the other two niches between them were deep, rectangular, and had an oak leaf carved into the rear wall. All the niches were wide and high. The apse originally held a fountain,Rodriguez, Alicia.

The first layer of frescoes, which originally covered the entire eastern church, dates from the 11th–12th century. Fragments of those frescoes have been preserved in the lower parts of the apse and the north wall, and in the upper part of the west wall and the south vault.

The first church at Serrabone had just one nave with a pointed barrel vault. An extensive transformation took place in the 12th century. A transept and three apses replaced the earlier chevet. The principal apse, protruding on the exterior, is flanked by two absidoles enclosed in the walls.

The church is first mentioned as belonging to Frati Minori in 1289. The church with a bicolored (travertine marble and pietra serena) facade has a rose window in the center. The rounded portal is highly decorated with spiraling pilasters. The apse has a series of vaults with Gothic tracery.

It consists of a vaulted nave and an apse. The chapel was reconstructed in Gothic style by Spanish Knights of Malta in 1519–1520. Their names can be found on two cornerstones of the façade. Fourteen cisterns for collecting rainwater were excavated in the rocks under the castle.

Tipe dei Successori Le Monnier, 1889, page 493. In 1899, he painted frescoes of Sain Zaccaria, John the Baptist, and Elisabeth and Faith and Charity in the apse of the church of San Giovanni Battista dei Genovesi in Rome.Description of artworks in San Giovanni Battista de' Genovesi, Rome.

On the basis of coins dated 1157 found in the floor, the date of construction was probably around 1160. The fieldstone wall stands on foundations of Bornholm limestone. The double-arched apse bears similarities to that in Lund Cathedral. The round nave has an external diameter of 16 meters.

Guide d'Italia, page 128. He painted a Last Supper in the apse of the parish church of Gualdo Cattaneo.Guide d'Italia, page 147. He painted for the Cassa Ecclesiastica (1562) and the Church of Bethlem of Fuligno, and for the church of Santa Maria di Vallegloria (1575) of Spello.

The 1921 excavation discovered a larger apse from this church. Additionally, some of the marble carvings in the choir are from this second church. The current Romanesque church was begun under Bishop Adalgott (1151-60). The choir was consecrated in 1178, followed by the main altar in 1208.

The church has a neo-Gothic interior. It is three-naved, supported by 6 red marble columns. The main altar is in Baroque style. The three main windows of the altar's apse have stained glass which depict from left to right: Sahak Patriarch, Saint Lazarus, and Mesrop Mashtots.

St. Joseph Church is a historic Roman Catholic church located on Main Street in Westphalia, Osage County, Missouri. The Gothic-Romanesque building was constructed in 1848. Architectural features include limestone and cottonstone construction, a frame clerestory, and an octagonal apse. A central belfry steeple was added in 1883.

The floor plan of the temple consists of a single nave and main apse, with four smaller apses added later, two on each side of the nave. Two masses are held at the church every year, one on Pentecost Monday and the other on the third Sunday in September.

The building is on a lot in a residential neighborhood three blocks east of the Fox River. The church itself is with an entrance facing the south. The nave is has been renamed Shannon Hall (for the builder). The north side of the building features a six-sided apse.

At the foot of the apse side walls are two famous mosaic panels, completed in 547. On the right is a mosaic depicting the East Roman Emperor Justinian I, clad in Tyrian purple with a golden halo, standing next to court officials, Bishop Maximian, palatinae guards and deacons. The halo around his head gives him the same aspect as Christ in the dome of the apse, but is part of the tradition of rendering the imperial family with haloes described by Ernst Kantorowicz in The King's Two Bodies. Justinian himself stands in the middle, with soldiers on his right and clergy on his left, emphasizing that Justinian is the leader of both church and state of his empire.

The old apse and the new apse are designed in the same fashion; they are both buttressed and have the same number of buttresses.The Goticky Sklep exhibition, Vyšehrad, Czech Republic The western façade features three vestibules, two towers, and a crowning triangular gable between the towers. The main portal tympanum is decorated by Jesus standing with his apostles. Below them the archangel Michael stands between people being ushered to heaven by angels, and people crippled by the suffering of sin. On the gable face stand sculptures of the basilica’s namesake saints Peter and Paul with angels and Jesus. Another interesting feature of the Ss. Paul and Peter’s Basilica design is the spires, which are hollow.

Exterior of the apse with its unconventional convex Venetian window Exterior view of north side The church is built from Portland Stone, and, as with most of these churches, it is raised on a crypt that is mostly above ground, thus needing a flight of stairs to enter. The most unusual feature of the building is the cylindrical tower with a steeple, around which is wrapped a semi-circular portico of four giant Tuscan columns; colossal pilasters articulate the body of the church facades. The steeple embedded in the plane of the church wall echoes the apse at the east end. It was an afterthought, which required structural strengthening of the underpinnings of the west end.

As the building has been reconstructed in the course of history, only the middle nave retains its original architectural form. It terminates in a protruding semicircular apse on the east and exaggerated engaged pilasters in the interior of the building create arched bays in between. The inner walls were once fully frescoed; the badly damaged 13th–14th-century depictions of the Mandylion, saints and inscriptions survive in the altar apse; fragments of a royal portrait and two scenes of the Doomsday are visible in the northeastern and northwester pilasters, respectively. A small flagstone in the south wall of the altar bears a carving in relief, depicting two laymen standing en face, with a pedestalled cross in between them.

In the lower register is a representation of the Church militant, with imposing, grim-looking apostles and saints sitting in a semicircle and centred by the figures of Mary, with the chalice, and John the Baptist, with the Lamb, the symbol of the death and resurrection of Christ, of great Eucharistic significance. Beside them are Peter, with the keys, Paul, with a scroll and a volume, and John the Evangelist, on the right, plus another apostle on the left. An attractive Greek fret separates this area from the painted drapery there was at the bottom of the apse. What especially distinguishes this apse is the figure of the richly dressed female donor holding a lighted candle.

On the western entrance a triumphal arch stood, while on the eastern side there are the remains of an apse, whose function is unclear, but possibly served as a religious shrine. The apse features an East-oriented half-dome, and is 11 m high and 9 m wide. The remains of the arch, now vanished, are illustrated in the sketches made in 1838 by Léon de Laborde: they depict an arched doorway, made of stone masonry, lying immediately at the entrance of the bridge.Laborde (1838), Table XIV, Nr. 30 The next sketch provides some measured dimensions: the doorway was 10.37 m high and 6.19 m wide, while the pillars to either side were 4.35 m thick.

Construction started in 1300 and was finished in 1362, creating a building of the Catalan Gothic style, and is notable for the width of the nave, flanked by six chapels to each side. The five-sided apse is oriented to the east. After the desecration and devastation of the cathedral by the Ottoman Empire Turks under Admiral of the Ottoman Fleet Pialí Bajá in 1558 and the collapse of the vaults of the apse in 1626, the damage was quickly repaired in the original style. In 1795, with the restoration of the old bishopric of Menorca (which had existed at start of the 5th century) the parish church of Ciutadella came to be the cathedral of the new diocese.

The twin church design at Üçayak has two naves (naoi) each with a separate semi-circular apse. Each apse includes a rectangular bay in front of it. The double-church design is even more unusual because the two churches were constructed at the same time, as opposed to being built sequentially, which was the construction method employed more often for churches of this type. Scholars speculate that the double church was constructed either in honour of two distinct saints or martyrs, or because a Byzantine emperor and his wife built it; the latter explanation being more probable, since no crypts or other artefacts, attesting to the worship of saints or martyrs, have been found.

The Church, built between the 12th and 14th centuries, that is, in the transition from the Romanesque to the Gothic, has a Latin cross plan with only one nave and four sections up to the transept; this one is very long but narrower than the nave, so it gives rise to a rectangular transept that is covered with an octagonal dome that rests on trumpets whose construction is dated in the 13th century. In the two arms of the transept there are two square apse chapels. The main apse at the head of the nave is also quadrangular and smooth. The temple is covered with a gothic ribbed vault and the apses and transept with barrel vaults.

Below the altar is a reliquary in which is preserved the gridiron on which tradition maintains that St. Lawrence was martyred. The marble throne of Pope Paschal II in the apse behind the high altar has an inscription that records the translation to the basilica of its relics of St. Lawrence of Rome. A Madonna and Child with John of Nepomuk and Archangel Michael by Onofrio Avellino hangs in the apse behind the high altar. Gian Lorenzo Bernini designed the Capella Fonseca, fourth on the right, for the Portuguese Gabriele Fonseca, who was physician to Pope Innocent X (1644–55).Prosper Mandrosius, ʘEATPON, in quo maximorum Christiani orbis pontificum Archiatros (Romae: Typographio Paleariniano, 1784), pp. 53-4.

These basilicas were rectangular, typically with central nave and aisles, usually with a slightly raised platform and an apse at each of the two ends, adorned with a statue perhaps of the emperor, while the entrances were from the long sides.The Oxford Dictionary of Christian Art and Architecture (2013 ), p. 117 The Roman basilica was a large public building where business or legal matters could be transacted. Although their form was variable, basilicas often contained interior colonnades that divided the space, giving aisles or arcaded spaces on one or both sides, with an apse at one end (or less often at each end), where the magistrates sat, often on a slightly raised dais.

The apse has a starry sky which may have been inspired by the oratory of Galla Placidia; the vaulting has four angels arching inward to sustain the symbol of Christ: the initials I X = IesusXristos; between them, the symbols of the Evangelists and, in the vault of apse, portraits of the first Apostles Ss. Peter and Paul, James and Philip, Andrew and Jacob, with Christ, intent upon the Word and its interpretation. Even more than in the Christology of Galla Placidia, the Son of God is seen in the vault of Heaven: the Logos of the Cosmos. Robbed of earthly dominion, under Theodoric, the bishops of Ravenna contemplated celestial glory.Storia di Ravenna, Mario Pierpaoli; Longo editore, Ravenna, 1986;pp.

Due to the early 19th century demolitions, only the apse chapel, the bell tower and a few other structures remain of the original Romanesque-Gothic structure. The base of the bell tower include antique elements, such a bas-relief with a Maenad, dating from the 1st century AD. Other sights include the 13th century portico- courtyard, with Verona marble columns, and a 15th-century chapel dedicated to the Holy Virgin. The apse has frescoes by Filippo Zaniberti (early 17th century), depicting the Miracles of the Virgin. The square in front the church houses two sarcophagi of members of the Este family, including the tomb of Albert Azzo II, Margrave of Milan, and that of Azzo VI of Este.

Christ also holds a book and makes the blessing gesture, no doubt under Byzantine influence. In both, Christ's head is surrounded by a crossed halo. In Early Medieval Western art the image was very often given a full page in illuminated Gospel Books, and in metalwork or ivory on their covers, and it remained very common as a large-scale fresco in the semi-dome of the apse in Romanesque churches, and carved in the tympanum of church portals. This "seems to have been almost the only theme of apse-pictures" in Carolingian and Ottonian churches, all of which are now lost, although many examples from the period survive in illuminated manuscripts.

The 1928 building is on the left; the education block (c. 1980s) is on the right The altar and pulpit were originally in an apse at the end of the church, surrounded by wood paneling on the walls, with a cross-shaped window above it and flanked by two arched windows, but this is now occupied by the pipe organ which was introduced in 1936. Earlier designs for the church included a gallery and an enclosed organ chamber, but these were not included in the final design. The interior has undergone several renovations, including (a rather unsuccessful) one in the 1960s, when the entire apse was screened off by a plasterboard wall.

Allerum Church was built in the 1150s and originally consisted of a nave and a chancel with an apse. It was enlarged in the 14th century, and the tower was built during the 15th century. A church porch was built 1500. Only the tower and chancel remain of the medieval church.

The architects were not originally planning frescoes on the inside walls. They appeared only in the second half of the 11th century. It is believed that the walls were painted by a group of at least four artists, who created a monumental harmonious composition. Each apse contains its own iconographic cycle.

In the 17th century it underwent refurbishment. Deconsecrated in the early 20th century, it was not reopened until after World War II, and now reponed by the comune for meetings, conferences, and concerts. The apse has a semi-circular Romanesque apse.Comune of Taquinia, Ufficio Informazioni Accoglienza Turistica, entry on church.

Only two of these structures survive in Maryland today, the other located at St. George's Church in Perryman, Maryland. Opened in 1713, St. Paul's is currently the oldest continuously used Episcopal church building in Maryland. It measures with a semicircular apse on the east gable where musicians would have sat.

Below the main altar is a crypt with archeologic evidence of prior structures in a mosaic pavement. The dome has frescoes depicting a procession of St Gerard. The apse has a Christ the Redeemer frescoed against a bright background. The chapel of St Gerard has a 15th-century reliquary statue.

The latter is dedicated to the Holy Trinity and has a single apse. A sacristy building adjoins it from the side of the river. The wall had five towers of which little remains. It used to be encircled by 6-metre-high earthen ramparts and a moat traversed by a drawbridge.

The church is ancient, putatively founded in the 11th century on the foundations of an earlier pagan temple. It stands now as mostly rebuilt starting in 1598. The portico, and parts of the apse and sacristy retain some of the ancient traces. The entry lunette was frescoed by Ventura Salimbeni.

Orthodox church interior (generic) The church "Dormition of the Virgin Mary" was built from river rock and from bricks. It is rectangular, without apses, with the altar apse being semicircular. The edifice sits on four short piers. Under the eaves the church is surrounded by a belt of blind alcoves.

There were only three windows in the original building, one in the apse which was restored in 1874 and one on each side of the nave. New windows have since been added. Both the Romanesque portals have been almost fully preserved. The stonework on the south door is particularly well executed.

While the monastery building remains nearly as it was designed, the church has been rebuilt many times; the apse and reconstructed dome are its only original parts. The monastery is an apartment building; the church is used by the Volyn Fellowship of Saint Andrew, heir to the Lutsk Orthodox Fellowship.

The church was built alongside the castle guarding the town. A church at the site was built in the 12th century, and underwent a number of refurbishments including a major one in 1539. The apse retains the semicircular architecture typical of Romanesque churches. The facade was decorated with baroque tiles.

Chapel of St Michael & St George, St Paul's Cathedral, London. schematic rendering of typical "side chapels" in the apse of a cathedral, surrounding the ambulatory. A chapel is a Christian place of prayer and worship that is usually relatively small, and is distinguished from a church. The term has several senses.

Gothic apse of the Monastery of Odivelas. The Monastery of Saint Denis () is located in the city of Odivelas, near Lisbon, in Portugal. The feminine Cistercian convent was founded by King Dinis I and was built during the 14th century in Gothic style. It is the burial place of the king.

The chief material employed in the Belovo Basilica's construction were square bricks joined together with mortar. The basilica measures . The interior is divided into three naves by two rows of fours columns each running through the middle of the church. Each of the naves has an apse at its east end.

Tradition holds the church was built before the year 1000, atop the remains of a pagan temple dedicated to Hercules. It was rebuilt in Romanesque style. The rectangular layout is divided into three naves; the central one ends in a rounded apse. Arches with pillars with square capitals separate the naves.

During the Estates General of 1614, the king and his courtiers sat in the apse, which was decorated with fleur-de- lis.Bjurström 1962, p. 122. Lawrenson suggests that on some occasions, such as the Ballet Comique de la Reine, a kind of stage was located in the apse.Lawrenson 1986, p. 188.

The Candelária church is a Latin cross church with a dome over the transept. The nave has three aisles and a main chapel in the apse. The whole ensemble may have been inspired by the church at the Convent of Mafra, and in the Estrela Basílica of Lisbon, both in Portugal.

The square prayer hall, covered with a dome on pandatas with a small lantern, is united by three-door openings in the eastern part with a semicircular altar apse, and in the western part it joins with a rectangular vaulted porch. To the porch adjoins a three-tiered bell tower.

It is rectangular (10X8.7 m), built in cobblestones and small stone. Some of the basic construction parts are stone spun with yellowish tones. In the eastern part, it has an apse whose axial sliding is cut. Inside the altar of the altar, the wall is constructed with a rectangular trapezoid.

The foundation is locally quarried rock-faced stone. There is a central entrance tower, which rises , and was the tallest structure in Keokuk County when it was built. The exterior features decorative brickwork pilasters and a mock cornice with denticulation. Two sacristies are located on either side of the apse.

The building contains period stained glass windows and has wood carved altars and pews. The 14 stained glass windows in the nave and the apse were donated by parish families and they portray various saints. Donor's names are inscribed below. The altars are hand carved walnut with gold leaf trim.

Because of World War II, the chapel was only finished in the 1950s. A memorial to those who died in World War II is outside the entrance to the chapel. The original chapel now forms the gallery and vestry. The apse of the old chapel is used as a baptism font.

The church is first mentioned in a record in 1228. Around 1300, the interior of the church was covered with murals including the still visible painting of Saint Christopher on the north wall. The southern side apse was demolished and a Romanesque bell tower was added between 1345 and 1486.

St Marie's is constructed in red brick with sandstone dressings, and has blue brick banding. It is roofed with Welsh slate. The plan consists of a single cell. The nave has a polygonal apse at the east end, and there are seven-bay aisles under lean-to roofs at the sides.

The church has a broad nave with a horse-shoe shaped apse and a choir of tuff blocks. The castle was built in the 12th and 13th century. The five-story main tower was finished around 1265. It is a Romanesque building with round arch windows in the upper two stories.

Ole Søndergaard's altarpiece in the Church of Our Saviour, Esbjerg Ole Søndergaard's ceiling painting in the apse vault of Holbæk's Sankt Nikolai Church Ole Laurits Olsen Søndergaard (24 May 1876 – 10 November 1958) was a Danish landscape painter. He also decorated a number of Danish churches with paintings and frescos.

Priory in 1830The fortified Garden In 1830 the building consisted of a transept terminating in an apse. There were several columns with capitals which dated back to the 13th century. The choir was older than the tower. The roof was non-existent by 1830, having most likely been made of wood.

Those in the choir depict the kings of France and Castile and members of the local nobility in the straight bays, while the windows in the apse hemicycle show those Old Testament prophets who foresaw the virgin birth, flanking scenes of the Annunciation, Visitation and Nativity in the axial window.

It is decorated with plant motifs. The straight section preceding the apse runs under a covered arcade with three columns on each side, and the remaining two small bases. At present, vegetation and weeds invade the interior of the church and all its walls. Its ruins were recently cleaned and consolidated.

The Apse of the building The building lies in the district of Fatih, in the neighborhood of Ayvansaray, in Çember Sokak. It lies a few hundred metres inside the walled city, at a short distance from the shore of the Golden Horn, at the foot of the sixth hill of Constantinople.

Cathedral interior The cathedral's interior features round arch windows and pilasters with Corinthian capitals. It is capped with a coved and coffered ceiling. The bishop's cathedra is located at the center of the apse wall. The church's 1897 pipe organ was donated by Andrew Carnegie through the influence of Charles Schwab.

The large mosaic decorating the apse was installed in 1927, and designed by Joakim Skovgaard. In 1990, the layout of the choir was changed and the altar placed in the crossing. Pope Francis visited the cathedral on 31 October 2016 to observe the 499th anniversary of the beginning of the Reformation.

The church has two entrances – from the west (brick) and from the north. There are two semicircular riches and a window in a semicircular apse. There is the representation of Virgin, who sits on the throne with saints. Church wall- painting was done in 1412–1431, but they are damaged.

Fresco of Shota and Ia The church measures 8 x 4 sq. m. The main nave is much larger than the lateral naves, ending in a semi-circular eastern apse with an arched window. The conch is spherical. The upper central portions of the northern and southern walls contain brackets.

The windows and painted murals around the apse were built by Hardman & Co. The murals were designed by Joseph Aloysius Pippet. Illustrating the life of Jesus, they are not contemporary with the church: it was stated in 1907 that "[t]he sanctuary has been recently adorned with elegant mosaic pictures".

The East end of the church has a transept and an apse with three chapels. The crossing area is illuminated by the large windows of the transept arms and main chapel, as well as by a small rose window over the main chapel with tracery in the shape of a pentagram.

On the bottom wall is a masterpiece painted by Giovanni Antonio De Pieri called "Lo Zoppo" (the cripple) from Vicenza depicting Saint Jerome in Glory (1727), while he contemplates the crucifix and is taken up into heaven by angels. It was originally located in a central position in the apse.

Butternut was used for all the interior woodwork. The ceiling, which is now painted white, was originally painted ultramarine. Nineteenth-century stained glass windows illuminate the interior of the church, including the nine lancet windows in the apse. The Stations of the Cross on the side walls are later additions.

The Belltower stands next to the left side of the apse. Gothic in design with decorated hanging arches. The bell, open on four large double windows on each side and consist of five bells. The tower is crowned with a dome covered with lead plates, supported by an octagonal drum.

Saint Paul's Church The local church is dedicated to Saint Paul and belongs to the Parish of Sostro. It is a single-nave church with an apse with late Gothic painting. Its architecture attests to a medieval origin. It has a bell-gable, a wooden portico, and a walled cemetery.

The original dome, akin to that of Kalenderhane Mosque, should have been carried by a tall drum pierced by windows.Schäfer (1973), p. 86. The exterior of the building is quite imposing. On the southeastern façade, the central apse, with seven sides, and the lateral ones, with three sides, project boldly outside.

Amongst the memorials is a brass plaque to the memory of the composer Edward German. A window in the north aisle contains fragments of medieval glass. The stained glass in the apse depicts the Ascension between images of St Peter and St Paul. It was made by Warrington in 1860.

To the west end of the aisle is the movable stone baptism font. The altar has been moved away from the apse to face the congregation. The original timber screen from the altar is presently stored in the vestry. To the rear of the altar there are now stained glass windows.

It is situated on the eastern part of the building based on the traditions. The sanctuary is 7 m (23 ft.) wide and almost 10 m (33 ft.) tall. Its Eastern wall follows the semi-circular shape of the apse. On the western side the sanctuary is closed by the iconostasis.

In the apse a fenestella confessionis (little window for confession) allowed to see the main place of worship, while a side door gave access to the catacomb. The present entrance of the catacomb has been recently built and it is made of a tiny brick structure closed by an iron door.

The tower is in the Renaissance style. The church has three naves, separated by a quadrangle of pillars. The apse has a rectangular and an octagonal section.Morales A. Guía artística de Sevilla y su provincia 1981 p459 The decoration of the church is a mixture of Christian and Islamic features.

These are bordered by a double column with capitals influenced by the Carolingian style. The double column support arches separating the nave from the aisles. Columns and pillars have been taken from a former Roman building. The nave ends with an arch leading to the apse, continued in the two aisles.

The Projections end in an apse, which have niches between them. The facade of the church is not designed with many ornaments which is typical for Kakhetian churches. Most of the facade is decorated with symmetrical arches. Town of Kvetera used to one of the center of the Principality of Kakheti.

Ekhvevi church. The northern tympanum. In the apse, on each side of each of the windows, there is a small niche, and above the niches there are large deep recesses on two levels. The lower levels open outwards on the east by small oblong narrow windows, with simply-carved archivolts.

The remains of the saint were probably moved from Kobern, where he had died, to Dietkirchen. The nave of the present church was built as a Romanesque basilica in the second half of the 11th century. The northern apse dates from around 1100. The two western steeples were later added.

The western sides lies on free rocks, while the southern area, ending with three apses, stands on three stone bases. The construction is in bricks. The interior was once entirely covered with frescoes. The left apse has a bell built in 1577, when the church was converted to the Latin rite.

Eastern façade. The Ienashi church is built of evenly cut limestone blocks. It is a hall church, with an ambulatory running on three sides and terminating in an apse on the east. The interior is divided up into bays by a pair of two-step pilasters which support a vaulted arch.

The church, measuring 42 x 29 m, has three apses, and the highest dome reaches . Its surface area is . The altar apse is semicircular and is surrounded by an open, arched portico. A large polygonal dome rises above the nave; its windows are arched and it has small columns all around.

The 18th-century church is parish church dedicated to St Anne. The apse is decorated with stained glass depicting St Paul Aurelian and St Corentin of Quimper, patrons of the diocese. In the transept are two side altars. The aisles are separated from the nave by columns, connected by semicircular arches.

The name of Apsley adopted by the family derived from Thakenham, near Pulborough in east Sussex, which may have referred to apse - lea or a 'church in a meadow'. The Bathurst estates were at Cirencester Park and Paulerspury, Northamptonshire, which Bathursts inherited before the park was laid out in the Cotswolds.

The Church of St. Bartholomew of Albinyana seen from the Sant Antoni hermitage. The parish church was dedicated to St. Bartholomew. Although it appeared documented in 1120 as a possession of San Cugat, the current building is from the eighteenth century. It has a semicircular apse with frieze and window.

Construction started in 1837 and the church opened on 5 August 1840. In 1925, the south aisle and the ambulatory round the apse were added. In 1962, the church was further extended by a north aisle into which was relocated the baptistery. The church is a Grade II listed building.

The mosaic is made of rectangular pieces of local colored stone, with cleanly trimmed brick lime solution. The background is orange. A stylized Greek inscription mentions the donor, Oreli. The central piece of the apse mosaic is a large Christogram, with Alpha and Omega, flanked and framed by interwoven Acanthus foliage.

Seven years later, one of his patrons offered the statue to Reims Cathedral, on the occasion of her beatification. It was placed in the apse of the chapel where Joan is believed to have been holding up during the coronation of Charles VII.Statue (grandeur nature) : Jehanne au sacre, sur cathedrale-reims.culture.fr.

On the south side of the Decumanus is an apsidal rectangular building, believed to be a late Roman basilica. Originally with a gabled roof, it has a small apse and shows a combination of building techniques in the walls (especially in the east), such as opus reticulatum and opus incertum.

Santa Maria presso San Satiro (Saint Mary near Saint Satyrus) is a church in Milan. The Italian Renaissance structure (1476-1482) houses the early medieval shrine to Satyrus, brother of Saint Ambrose. The church is known for its false apse, an early example of trompe l'œil, attributed to Donato Bramante.

The apse and nave walls have fresco remnants from the 15th century, attributed respectively to Giovanni di Corraduccio and Matteo da Gualdo. The crypt remains relatively intact, supported by sturdy simple columns.Cultural Tourism in the Province of Macerata , entry on abbey, by Fondazione della Cassa di Risparmio della Provincia di Macerata.

The façade was erected after 1520, and construction continued until 1733. The apse shows traces of the Romanesque architecture of the original church. The small church is best known for two chapels with Renaissance-style frescoes, including a shallow Caetani chapel with frescoes by Girolamo Siciolante. Comune of Sermoneta, short entry.

Hamlet of Bathingbourne Bathingbourne is a farming hamlet in the southeastern part of the Isle of Wight. It is located on Bathingbourne Lane, northwest of Apse Heath and southwest of Hale Common. Bathingborne is part of the town of Sandown. Several businesses, holiday accommodations and farms are present in Bathingbourne.

Orphoot designed the chapel in the Renaissance style, with seating for 45 people. The building has an apse at its east end, which contains a stone altar inlaid with Italian mosaics. The mahogany roof timbers were sourced from HMS Revenge. The east bellcote contains a single bell, supplied by Gillett & Johnston.

The chapel's interior is quite simple. It has one stone altar with the date 1897 inscribed on it. There is also a small statue of St Matthew on the altar. Just above of the altar there is a little apse decorated with a well-preserved fresco of a scallop shell.