The rear area is more complex. The crossing is the background of a descending sequence of blocks, started by the presbytery, and followed by the nave's apse, the roofs of the aisles' apses and finally the apses themselves. Another block on the left is the sacristy. The apses' exterior is decorated by Lombard bands.
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The 3 naves and 3 apses are formed in a basilica structure. Columnar capitals are sculptured by plant and some animal ornamentation. The rotunda has been built with 4 apses and 2 floors.
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Smaller apses may also be in other locations, especially shrines.
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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.
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This, in conjunction with the two apses is where the majority of Christian imagery occurs.
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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.
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Apart from the thermae, there are also remains of a large building, with three apses and floor heating system.
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The church has a large cotto façade divided by pilasters and crowned by Lombard bands. The interior has a nave and two aisles ending with apses. In the apses are frescoes from the 14th and 15th centuries, while the crypt has an 11th- century mosaic pavement. Antonio Barbavara was briefly the Abbot in 1428.
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Mikulčice 6th, rotunda church, with two semi-circular apses. In 1960 excavation moved to an extramural settlement outside the rampart, which had been reached over the river course by a wooded bridge. Extensive remains of wood were recovered including a logboat. Also discovered was a circular stone rotunda church with two semi-circular apses.
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Corbelling visible on the walls of the apses suggest that the temple was roofed. A small sculptured temple was discovered here.
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For example, the cella is in practice a round chamber over in diameter. The cella gradually disintegrates into the surrounding apses.
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Internal view The building has a single nave covered with a barrel vault, a transept, and three apses externally decorated with arches and pilasters. Two apses are connected by open doors in the walls. The dome is topped by a small square bell tower with two-story windows. Remains of Roman wall paintings are preserved, with plant motifs.
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The northern part and the central nave had sunk into the sea, but in 1920 excavations and research began here, and the church is now well-preserved and partly restored. It has three naves, three apses and a narthex, with two smaller apses on the north and south sides. It is 28 m long and 18 m wide.
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The nave features four windows in the side apses, while the altar is illuminated by three more small windows. Four inner columns create a square platform on which the octagonal dome rests. The double-tiled roof is higher above the northern and southern apses. The church was built by the same craftsmen behind St. Mary's Monastery near Sarandë.
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The original sanctuary was built in a trefoil style with three apses. It is a step higher than the nave in the open court. The rectangular space defined by the apses to its north, south, and east sides; used to serve as the altar for the greater basilica. Now the altar is located within the central or eastern apse.
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Vittorio Granchi decorated Sorteni's vaults with figures of saints and prophets. He painted the frescoes in the apses of the lateral chapels, too.
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Inspiration though from the Roman basilica remains concurrent, and Ottonian architecture preserves the Carolingian double ended feature with apses at either end of the church.
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Sioni is an early example of a "four- apse church with four niches"Patrick Donabedian & J.-M. Thierry, Armenian Art, New York 1989, p.67. domed tetraconch (between the four apses are three- quarter cylindrical niches which are open to the central space), with entrance from the north. The dome tholobate rests om the three rows of tromps, transitioned to the four apses of the tetraconch.
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The building is one of Stephen's city churches: large, tall, with a spire, side apses and an enlarged vestibule. The facade was of unworked stone, with buttresses that reached two-thirds of the walls' height. The exterior was decorated with two rows of recesses, as well as rows of enameled, colored terra-cotta discs representing people and animals. The apses were endowed with large arches.
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The plan of the temple incorporates five large apses, with traces of the plaster that once covered the irregular wall still clinging between the blocks. The temples are built in the typical clover-leaf shape, with inner- facing blocks marking the shape. The space between the walls was then filled in with rubble. A series of semi-circular apses is connected with a central passage.
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The plan seems to be based upon the Roman aula palatina of Trier. The structure was made of brick, and the shape was that of a civil basilica with three apses: the largest one (17,2 m), located to the West, was dedicated to the king and his suite. The two other apses, to the North and South, were smaller. Light entered through two rows of windows.
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The church's apses are semi- circular and small, with side apses being nearly the same height as the central one. Each apse has a window with a corbel arch, indicating that this church was built later than most other Alanian churches. Originally, the church's windows were located in its northern and southern walls, however, the windows were plastered over and moved during the church's renovation.
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Church plans were adapted to the liturgical needs, as the number of canons or friars who required more altars for their religious functions was increasing. Temples were built with Benedictine Cluny-style apses added. A long transept that could accommodate more apses was adopted in Cistercian architecture, and there are more examples of this type of construction. This feature was also adopted by the cathedrals (Tarragona, Lleida, Ourense and Sigüenza).
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The structure has an east–west orientation, with three apses, and a very elaborate entrance on the south side, carved with symbols and fantastic flowers. Inside, the sanctuary is elevated from the central nave and the two side aisles. Even in the crypt the subdivision in three apses is maintained. On the back wall to the west there are a number of steps that had to serve, according to tradition, catechumens.
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Carolingian capital The original church was a six-bay basilica with three sanctuaries and apses at the east end. The entrance was originally at the west end of the central nave, but is now on the north side of the church at the northern sanctuary. The aisle windows have been replaced, and late gothic chapels were added on the north side. Also the apses were removed following the alterations.
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The church of Saint-Pierre dates from the 12th century and is built in the typical Romanesque basilica style: cross shaped with three apses at the east end.
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To the original building was added an apse which is now used as a sacristy. Then, the tower, initially separated from the church, was added. Later, three apses were built, giving the church its today's appearance. In 1692 it ceased to be a parish of Zamarramala and the Virgen de la Paz, whose image made of stone in Romanesque style, presides over one of the apses, became the patron of the church.
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View of the church in 1816 The first abbey church was built at the beginning of the 11th century. It was a three-aisled basilica with three apses. The only portion of this building to survive in full is its eastern end (the apses and the two flanking towers). Traces of the western wall have also been discovered, which indicate that the building was much shorter than the present structure, although of the same width.
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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.
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In 1403 the old dome fell down. The Antipope Benedict XIII (Papa Luna), Aragonese by birth, initiated a reconstruction of the building. The Romanesque apses were elevated, two towers buttressing the sides of the apses were added, and a new dome was built in the shape of a Papal Tiara. Decorated in 1409 by the master Mohammed Rami, it may have been viewed by Benedict XIII on his visit to the city in 1410.
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The space that is left between the arms of the cross is filled with two-storied store-rooms located beside the apses on the east, and by additional spaces on the west. The smaller floor located beside the apses represents a mass of entire wall, in which a small door is cut. The upper gallery is located on the second floor of the northern and southern naves. One can ascend by a ladder.
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The plan of a Coptic Orthodox monastery, from Lenoir, shows a church of three aisles, with cellular apses, and two ranges of cells on either side of an oblong gallery.
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The cathedral has a generally Romanesque structure, although several elements are in Gothic, Renaissance and Baroque styles. The plan is in the forms of a nave and two aisles, with three apses and two external portals, both provided with loggias (one of which in Renaissance style). Only one of the current apses is original. Of the other two, the central one was renovated in the 18th century, and the other one rebuilt in the same age.
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The building is topped by an Ottoman dome pierced by eight windows. This edifice has three high apses: the central one is polygonal, and is flanked by the other two, which served as pastophoria: prothesis and diakonikon. The apses are interrupted by triple (by the central one)and single lancet windows. The walls of the central arms of the naos cross have two orders of windows: the lower order has triple lancet windows, the higher semicircular windows.
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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.
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Plan of the Nestorian Church by Camille Enlart The church walls are made of ashlar and the church has three naves and three apses. All three naves have entrances to their west. Originally, the church was built with a single nave and a protruding apse; the other two naves and two minor apses were added at a later date. During this transformation, the eastern and central bays were demolished to be replaced by arcades supported by square pillars.
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It has a cosmatesque decoration and a polygonal baptismal font. The presbytery has a ciborium. The façade has three portals and a Lombard-style oculus. The church naves ended in three apses.
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After the Roman forces left, some simple Pit-houses and wooden frame structures were built. The medieval churches, of which two apses can still be identified, once stood in the southwest corner.
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From afar, the church's exterior is notable for the prevailing regularity of straight lines, excepting the three semicircular apses. Above the whole rises an octagonal lantern tower, which corresponds to the interior dome.
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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.
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The Church of St Nicholas was constructed out of interchanging rows of stones and brickwork, and measures . Architecturally, it is a three-naved basilica church; the naves were formed by two rows of columns which ran along the length of the cella (or naos). It has three entrances, all from the west, and three apses in the easternmost part. The side apses are smaller than the one in the middle, which features an elaborate three-part window and additional decoration.
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The interior has undergone many refurbishments. The church has three naves, divided by columns with Romanesque capitals in peperino stone. The church ends in three semicircular apses. These have frescoes of the 12th century.
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Floor plan of the Santiago de Compostela Cathedral. The temples of the First Romanesque are simple, with a single nave topped by a semicircular apse (without a transept). The prototype of the Romanesque church was non-rural, medium-sized and with the floor plan of a basilica with three naves containing three semicircular apses and a transept. Throughout the twelfth century the traditional Hispanic type temples with three straight and terraced apses were still being built in some areas (such as in the city of Zamora).
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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.
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Its gable front has a small rose window. Its interior has a small transept, three semi- hexagonal apses, and stained glass windows dating mainly to between 1906 and 1910. with three photos and two maps With .
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The old monastery was of Romanesque style. There are three apses and two semicircular arches. There have been several renovations, the last carried out between 1928–31 to a design by the architect Josep Puig i Cadafalch.
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Scholars agree that the church's original architecture was Visigothic due to specific construction elements such as the horse-shoe arches, which divide the nave and give entrance to the apses, as well as the insulation of the apses themselves.Pijoan, J., "A Rediscovered School of Romanesque Frescoes", The Burlington Magazine for Connoisseurs, April 1911, p. 72-73, XIX, XCVII However, an additional description of Mozarabic has been given as well to describe the architectural style.Miller, D.C., The Romanesque Mural Paintings of Pedret, Parnassus, New York, March 15, 1929, I, III, p. 20.
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It is a cross-domed cathedral with three naves and three apses, shaped as a rectangle with extending semicircular apses. The cathedral is notable for its impressive size, reaching 29 m high (including the dome), 37 m long and 25 m wide; the walls are up to 1.5 m thick. The building rests on heavy slabs of grey sandstone; the walls are made up of alternating rows of stone and brickwork, a typical technique for late Byzantine architecture. The cathedral contains vestiges of wall-painting from the 13th and the 16th centuries.
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The lack of a transept and the facing apses parallel the designs of contemporary German cathedrals. The Romanesque arches date from the 13th century. It does not have a main doorway. The choir dates to the 18th century.
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Anton Ditges: Groß St. Martin in Köln. Eine Festschrift zur siebenten Säcularfeier der Kirchweihe am 1. Mai 1872, page 17. In the middle of the 13th century, new walls for the three apses were completed, with larger windows.
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The mosaics of Santa Costanza are important examples of Early Christian art, and even rarer examples of secular palace ceiling mosaics. The apses, central dome, and ambulatory all had mosaic decoration, though that in the dome no longer survives.
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The Chapel was designed by architect Antonio Barluzzi. Under the chapel is a large cave. It has five apses that mimic the structure of a nomadic tent in gray. The words of the angel to the shepherds incristas gold.
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It has a nave and two aisles, built with the same height, and three apses; the nave is in the Romanesque style, whereas the aisles are Gothic, as is the octagonal bell tower. In 2002 part of the church was refurbished.
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The main portal. The façade is completed by three windows and a small rose window above the nave. They are decorated by animal figures. The transept, facing the sea, has three apses, and also features blind arcades in Romanesque style.
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Door Vault Constructed in a basilica plan, it has three naves with a transept and three apses. There is a barrel vault in the nave. Lombard decoration of the interior walls is still visible. There is a series of blind arches.
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The presbytery has three apses. The ogival windows frame stained glass windows. The sacristy contains and altarpiece depicting the Jesus and the Apostles by Cola dell'Amatrice. It also contains paintings by Biagio Miniera, and Nicola Monti (depicting the Blessed Beato Corrado).
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It was built by the Augustinians in 1072-1118 over a pre-existing edifice. The rectory was added a few years later. The structure follows the Pisane Romanesque style established by Buscheto. It has a nave and two aisles with apses.
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This is the first known example of a basilica-plan church built with a dome in Western Europe, which represents the synthesis of sacred- building and meeting-hall typologies in the Roman tradition. Apses, transept, and lantern tower, with typical Lombard details At the crossing, the nave meets the transept, which is actually slightly wider than the nave. The transept, however, is short, barely emerging from the sides of the church, but still giving the structure a typical cruciform plan. Beyond it, the aisles of the church terminate in three apses, each sized according to the size of the aisle.
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The sacristy is equipped with walnut wood furniture; a cupboard which covers the sacristy wall was made between 1697 and 1698, the 13 benches for canon were made in 1699 and a bishop's throne was added in 1717. In addition to the cathedral the complex contains the Church of Saint Quirinus, the only early Christian two-story church in Croatia. The Romanesque-style church was built in front of the cathedral, out of locally mined white stone. Because of lack of space its apses face southwards and it features three semicircular apses with romanesque arcades on top.
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This church has the construction style established in church of San Julián de los Prados: facing eastwards, vestibule separate from the main structure, basilica-type ground plan, central nave higher than the side aisles, with intersecting wooden roof and lit by Windows with stone lattice. The straight sanctuary is divided into three apses with barrel vaults. As a differentiating element, the apses were joined to each other through the dividing walls by semicircular- arched doors. Like all the churches from this period, there was a room over the apse, only accessible from outside through a trefoil window.
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While the bishopric has been established since at least the 4th century,Catholic Hierarchy: Diocese of Acqui the present cathedral building was begun under bishop Primo (989-1018) and was consecrated in 1067 by bishop Guido, later Saint Guido. The ground plan is in the shape of a Latin cross, and there are five aisles (but until the 18th century, only three), terminating in three semi-circular apses. Of the Romanesque structure there still remain visible the apses, the transept, and the crypt, which underlies both the transept and the choir. The remainder has been subject to further work in later centuries.
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The church has strong semi-circular buttresses that give a feeling of fortification, emphasized by the mighty bell-tower positioned in front of entrance. Pre-Romanesque Church of St. Donatus in Zadar, from the 9th century Smaller churches often have several apses. The largest and most complicated central based church from the 9th century is the church of St. Donatus in Zadar. Around its circular centre – with dome above – is a nave in the shape of a ring with three apses directed to the east; that shape is followed on the second floor forming a gallery.
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Interiors have a neo-baroque twist. Naves are separated by stuccoed arcades, embellished with Rococo ornamented cartouches. The three naves, the chancel and the three apses boast barrel vaults and lunettes. The chancel is enclosed with six monumental Ionic style capital columns.
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There are three apses with a cornice of false arches and mullioned windows. The three naves are divided by rectangular pilasters. The interior has early medieval frescoes discovered first in 1897. Over the next century, a restoration brought to light more frescoes.
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Muqarnas architecture is featured in domes, half-dome entrances, iwans and apses. The two main types of muqarnas are the North African/Middle Eastern style, composed of a series of downward triangular projections, and the Iranian style, composed of connecting tiers of segments.
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The church was founded by Alfonso I el Batallador, after the Reconquista of Calatayud, to thank his French mercenary troops. The church was built in the 14th-century over an earlier temple. It has a typical Mudéjar structure of 3 naves and apses.
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Tarbes Cathedral was established during the 12th century. There remain two apses of the choir. A first extension was made in the 14th century by the addition of a Gothic nave. Its extension extended until the 18th century with the outer span.
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Ouveillan is a commune in the Aude department in southern France. Sights include the church of St. John the Evangelist, built in Romanesque style during the 11th-12th centuries. It has a large choir area with three apses, which are decorated externally with Lombard bands.
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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.
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Archaeological excavations carried out here in the 1930s laid bare the remains of the Roman forum and civic building constructed on two colonnaded floors with two apses. Two lower-floor columns have been reconstructed. The 5 bells are tuned in scale of G major.
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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.
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The current church building date to the 12th century. In 1428 an earthquake destroyed the dome and the bell tower, and damaged the church, which was largely restored. The church has a single nave, included into a wide transept. The latter opens to five apses.
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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.
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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.
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In spite of some public scepticism, restoration work began in 1948. By 1954, the walls and supports for the apses of the church, with their dwarf galleries, were completely rebuilt. In 1955, the nave was begun, and was completed with a new roof in 1971.
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The original three apses are of magnificent construction. Each contains two registers of columns separated by a decorative frieze and surmounted by architraves. Between the columns there lie the niches. The horizontal cross- section of the niches in each register alternate between rectangular and circular.
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The original monastic church had a nave and four aisles, roofed by barrel vaults. The nave and aisle terminated in five apses, later increased to seven when apses were added to the transepts also. The current church dates to Rogent's reconstruction in 1896, and although maintaining features of the original church, the present building has only two aisles. The transept houses the tombs of the counts of Besalú and of several counts of Barcelona, from Wilfred the Hairy to Ramón Berenguer IV. The cloister contains more of the original structure than the church itself, the first floor having been built between 1180 and the early 15th century.
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The destruction of the mosque and the construction of the Late Romanesque cathedral began in 1140. The new church, with a basilical layout consisting of a transept and three naves ending in apses, constructed of stone, owed much stylistically to the Cathedral of Jaca, from which it took various elements. Besides the church building itself, it had an archive, a refectory, a nursery, and two cloisters. From this era the lower part of two of the apses is still preserved, with small windows between inscribed capitals depicted, adorned with so-called "checkered jaqués" on the outside, and, inside, a set of sculptures that at present are hidden behind the main altarpiece.
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The design which is seen now is that of a 'vaulted crypt', recreating the atmosphere and style of a crypt in the early Christian church. Its underground setting guarantees a unique atmosphere of peace and prayer which visitors have appreciated since 1968. The three apses were originally intended for each of the contributing denominations, but in 1972 the main altar was rededicated by the Archbishop of Canterbury, the Cardinal Archbishop of Westminster, and the Moderator of the Free Church Federal Council for shared ecumenical use. The other apses now accommodate the Blessed Sacrament (the tabernacle has two separate compartments for Anglican and Roman Catholic traditions), and baptismal font.
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Gaisberg, Schottenportal, p. 14. The new western gate, directly adjacent to the church, became known as the Jakobstor. This Church of St. James, a three-aisled basilica with three apses and two east towers, was dedicated in 1120. Only the east end of this early building survives.
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Now the parish church of St James the Apostle, this Romanesque church was originally built for a community of Benedictine monks. Its nave with two aisles and three apses forms a basilica structure. The capitals of the columns inside the church are carved with plant ornamentation.
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The eastern façade is more elaborate. It comprises three high apses, the middle of which rises above the side ones. All three are decorated with ceramic plaques. A colourful effect is achieved by the mixed masonry of stone and bricks, without keeping to any fixed pattern.
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The details of the plan and connections between the two apses and the construction phases are not clear because of unsystemathic digging. So the 4th century date given by Ramsay can be taken forward about a century because new results from Mitchell's survey and Taşlıalan's excavations.
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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.
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The closed porch was added later, under Alexandru Lăpușneanu. The altar is lighted by two windows of differing sizes. The iconostasis, of carved linden wood, is painted and gilt. The nave has narrow apses, slightly pronounced, and is lighted by a northerly and a southerly window.
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Sant Climent, Taüll. The church of Sant Climent de Taüll was consecrated the December 10, 1123 by the bishop of Roda. This is a church with three naves separated by cylindrical columns, topped by three semicircular apses. The roof, of two sheds, is built of wood.
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The stone façade is made of stone bricks with a small mullioned window. A large bell-tower arises next to the façade. The semicircular apses differ, with the center one being less decorated. The church contains some of the Romanesque sculptural elements embedded in the walls.
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St. Cyril's Church (, translit. Kyrylivs’ka tserkva) is a rectangular-shaped structure with three apses jutting out on the eastern side. The church's dome and vaults rest upon six cruciform piers. A staircase built into the north wall leads up to the gallery in the western section.
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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.
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It now holds the Dragomirna museum of ancient art. The large church's plan is a much-elongated rectangle, without side apses. It seems to be built up to defy the heights, to seek the light; it symbolized prayer soaring from the bottom of one's heart towards the holy sky.
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Hereinafter, the ancient decorations are considered. Fragments of the ancient paintings at all the apses as well as narrow stripes of the fragments at the lateral walls of the altar are kept. The frescoes on the eastern columns are well preserved. as they were hidden behind the tall iconostasis.
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The walls were built of large cut stone blocks. Due to lack of wood in the region, the buildings were topped with stone domed roofs instead of flat wooden roofs. Over the aisles, matronea were constructed behind the upper column row. In apses, there were double clerestory windows.
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St Albans Abbey in the state before dissolution. Painting: Joan Freeman An earthquake shook the Abbey in 1250 and damaged the eastern end of the church. In 1257 the dangerously cracked sections were knocked down — three apses and two bays. The thick Presbytery wall supporting the tower was left.
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The church building has three apses in Romanesque style. The interior architecture has been extensively refurbished. The main altar has a tabernacle with a 13th- century fresco of Madonna with Child and a painting depicting Saints Faustino and Giovita (18th-century).Emilia Romagna Tourism office, entry on church.
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The cathedral is designed in a transitional style between Romanesque and Gothic. It lacks almost any influence of Islamic architecture. The floor plan is of a basilica in a Latin cross with a nave and two aisles. The tower is octagonal with a central space of five apses.
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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.
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Also was consecrated in 1123 and worked as parish of the municipality of Taüll during the 18th century. Its structure is very similar to that of Sant Climent. Basilica floor plan, consists of three naves and three apses. The bell tower is in the center of the nave.
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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.
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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.
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Raphael's plan for the chancel and transepts made the squareness of the exterior walls more definite by reducing the size of the towers, and the semi-circular apses more clearly defined by encircling each with an ambulatory.Raphael's plan, In 1520 Raphael also died, aged 37, and his successor Baldassare Peruzzi maintained changes that Raphael had proposed to the internal arrangement of the three main apses, but otherwise reverted to the Greek Cross plan and other features of Bramante.Peruzzi's plan, This plan did not go ahead because of various difficulties of both Church and state. In 1527 Rome was sacked and plundered by Emperor Charles V. Peruzzi died in 1536 without his plan being realized.
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As reconstructed by Theodulf in 806, the oratory took the form of a rough square with single apses in the middle of the north, south, and west sides, and three apses on the east side. Internally, the space took the form of a Greek cross: a high central tower filled the central bay, barrel vaults extended off in the north, south, east, and west bays, while in the corner bays there were low domes carried on squinches. This plan type was later to become standard in Byzantine architecture. Horseshoe arches are used throughout the church, an unusual element in French architecture derived, in this case, from the Visigothic practices of Theodulf's native Spain.
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See Ousterhout, Byzantine settlement. In this type of church, the templon barrier was often erected along the axis of the two eastern columns, thus enclosing the three easternmost bays within the sanctuary. A particularly important variation on the cross-in-square is the so-called "Athonite" or "monastic" plan, in which the rectangular bays at the north and south of the naos also opened onto semi- circular apses, giving the church the appearance of a triconch. This plan, often held to be typical of monastic churches, seems to have developed on Mount Athos in the eleventh century; the lateral apses provided a space for the performance of antiphonal liturgical music by two monastic choirs.
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The facade is derived in white marble, and a reflective green glass. There are 23 three-apses protrusions, which run from the 25th to 26th floor. The center wing has 24 support beams, and the side wings have 23 beams. The side wings are hyperbolically curved over the vertical axis.
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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.
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Square chambers in his palace on the Palatine Hill used pendentives to support domes. His palace contained three domes resting over walls with alternating apses and rectangular openings. An octagonal domed hall existed in the domestic wing. Unlike Nero's similar octagonal dome, its segments extended all the way to the oculus.
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The current exterior stems from the end of the 19th century. The architecture is unusual as it combines elements of a Roman basilica with a typical Byzantine church. It has three naves with three apses and five domes. There are two towers at the two sides of the main facade.
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The church consists of a single nave with three apses. An unusual feature of this church is the double pulpit, with one part projecting into the street. A 15th- century wooden polyptych from an Emilian artist adorns the altar. The west portal is decorated with shell motifs and a rose window.
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It had three apses; 26 meters long and 13 meters in width, each separated by a column. The narthex was positioned on the western entrance, while the southern side obtained a steeple, from which only few steps still remain. The narthex allegedly contained a sarcophagus quite possibly of a Croatian king.
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In the village there is an old architectural heritage from the romanesque art: the old rotunda. It was built in the 13th century. The inner space consists of four apses surrounding a central circular space. The rotunda has two floors: the stairs go up in a corridor inside the wall.
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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.
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About eleven years later another church with three apses and loopholes was built in the village of Gubesh, located nearby. The town's name is derived from the personal name Godek, a developed form of Godo or Gode or a shortened form of Godimir. It might also mean a "suitable, convenient place".
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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.
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The church is an example of the Belarusian Gothic architecture. Its internal space is divided into the three naves supported by four pillars. The plan of the building is close to a square and has three apses on the east side. The walls are one and a half meters thick.
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Iniciación al Arte Románico. Fundación de Santa María la Real. Aguilar de Campo. The walls of the most important and significant parts (especially the apses) were lined inside with iconographic paintings, many of which have come down to the twenty-first century, such as those belonging to churches in the Tahull Valley.
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The church is on the Latin Cross plan with a nave and two aisles and three apses. Each of the square spans is surmounted by a dome. The presbytery, ending with a niche, has also a dome. The cloister, enriched by a luxurious garden, is the best preserved part of the ancient monastery.
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A fifth church at Han Krum, discovered by archaeologist Kremena Stoeva in 2009, is thought to date to the 10th century, the time after the Christianization of Bulgaria. It has three naves and three apses. It has been conclusively dated to that period based on the surrounding pottery, as well as its architecture.
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The building has three polygonal apses. The central one belongs to the sanctuary (bema), while the lateral are parts of two clover-shaped side chapels (pastophoria), prothesis and diakonikon. The Ottomans built a stone minaret close to the narthex. The building was originally decorated with a marble revetment and mosaics, which disappeared totally.
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It was built in stone in a basilica layout with a sloped roof and tall center nave with lower aisles. At the end of the nave are three apses. The roofline has a toothed decoration. The nave is delimited by typical Romanesque columns, sculpted with decorative motifs of plants, animals, and men.
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116 The double sunflowers mark Lord and Lady Burlington's status as courtiers in the service of the King and Queen. When the Villa was rented out to John Patrick Crichton-Stuart, 3rd Marquess of Bute between 1865 and 1892, the central Gallery space, headed by apses at both ends, became his chapel.
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The oldest building of the monastery is the Church of the Dormition, built between 1507 and 1515, before the monastery was founded. It is a five-domed church with three apses, typical of 16th-century Russian architecture. On three sides, the church is surrounded by covered galleries. The interior is covered with frescoes.
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The church is a triconch (triple apse) edifice similar to the cross-and-dome models of the pre-Ottoman era. The nave and altar area are separated by a wooden iconostasis. Despite the long, narrow nave, the interior is spacious. The apses are covered by cylindrical arches opening to the central nave.
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J. P. Bachem Verlag, Köln 2002, page 265. During the bombing of January 1945, the triforiums of all three apses were destroyed. At the same time, the foundation of the central tower sustained a direct hit. In the final bombardment by Allied forces, on March 2, 1945, the city received its heaviest damage.
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The elongated building has a westwork with two towers, a gallery, a crypt, and three apses. The crypt, with its 100 columns, is the oldest part of the cathedral. In the middle of the rural Gurktal, the imposing tall twin steeple of the cathedral can be seen from a very great distance.
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It is a cross-in-square domed church with chapels alongside the naves. East side has three protruded apses. The middle apse of alter is horseshoe shaped from the inside, and has five facets in the outside. The dome is erased on four pillars, which are in the centre of the buildings.
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After the completion of the Mudéjar tower, further changes were made in the second half of the 13th century under the direction of the Moor Juzaff - the elevation of the naves (in the line of the Gothic raising the temples), the construction of new Mudéjar apses, and the covering of the naves with ceilings in this same style. Construction for the first part of the building had advanced from the apses to the Mudéjar tower. Now, renovations proceeded in the opposite direction. Indeed, once the height of the three naves was raised and its illumination enhanced, and the new Mudéjar ceiling over the central nave was arranged, the primitive head was undoubtedly dwarfed and disproportionate in relation to the new naves.
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According to these laws, planets move on ellipses (not epicycles) about the Sun (not the Earth). Kepler's second and third laws make specific quantitative predictions: planets sweep out equal areas in equal time, and the square of their orbital periods equals a fixed constant times the cube of their semi-major axis. Subsequent observations of the planetary orbits showed that the long axis of the ellipse (the so-called line of apsides) rotates gradually with time; this rotation is known as apsidal precession. The apses of an orbit are the points at which the orbiting body is closest or furthest away from the attracting center; for planets orbiting the Sun, the apses correspond to the perihelion (closest) and aphelion (furthest).
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The Collégiale church, begun in 1185 and consecrated in 1276, is a graceful example of early Gothic. The east end of the church, has three Norman apses. The main entrance, to the west, is crowned by a giant rose window of stained glass. Within the vaulted interior, the transept is lit by a lantern tower.
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Part of the stone was taken from the nearby Roman theatre and amphitheatre; part of the latter was demolished to house the church. In 1331-1335 bishop Niccolò degli Arcioni had the building extensively modified. The northern part was extended, starting from the three apses, which were removed. The new section was slightly misaligned.
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The church was characterized by a single nave ending in three apses. The façade was decorated with a pattern of architectural pilasters and arches in the roof eaves. The bell tower was coeval with the church and also repeated the decoration of hanging arches. The masonry of the church consisted of coursed rubble of limestone.
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The large exterior stairway followed in 1722/3. Johann Dientzenhofer built the terrace and the high choir after 1725, under abbot Anselm Geisendorfer. This created the crypt in which the tomb of Saint Otto is situated today. To the left and right of the choir, the Romanesque apses were replaced by two-storied structures.
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The temple, like other megalithic sites in Malta, faces southeast. The southern temple rises to a height of . At the entrance sits a large stone block with a recess, which led to the hypothesis that this was a ritual ablution station for purification before worshippers entered the complex. The five apses contain various altars.
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Cloister The building is quadrangular, somewhat wider than long, with three separate double-cruciform pillars supporting the nave's arches. The three naves are covered by barrel vaults. They were decorated with murals, some fragments of which are still visible. Outside, the apses are decorated in Lombard style with a frieze of blind arcades and pilasters.
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Therefore, a crossing and three new apses were constructed. This work was completed with the dismantling of centrings and with the plastering and painting thereof in 1335, according to a list of accounts kept in the Cathedral archive. The director of these last plastering works was the Moorish master from Coglor, Yuçaf de Huzmel.
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The coincidence of the annual cycles of the apses (closest and further approach to the sun) and calendar dates (with seasons noted) at four equally spaced stages of precessionary 26,000-year-cycle. The season dates are those in the north. The tilt of Earth's axis and the eccentricity of its orbit are exaggerated. Approximate estimates.
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With its large dome and with its four apses it has a unified and well-developed, profound and dense space. While based on classical examples, Tamburelli notes its own ferocity and gentleness which is expressed in the sensitivity to light.Pier Paolo Tamburelli 2006: Hram Svetog Save, the Concrete Cathedral. Domus, 898, December 2006, 68-71.
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In the 21st century the church is almost entirely in ruins and only the old part of the perimeter walls remains. The only wall standing is the main part of eastern wall, with three apses. The building is of the basilica type, while the shape and construction of the walls is indicative of Byzantine influence.
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The church, preceded by a small porch from the 13th century, has a nave with two aisles. These end with three apses. The interior is characterized by numerous interventions from different ages. The columns are from ancient buildings, and the floor is an example of Cosmatesque marble art from the beginning of the 13th century.
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The church was built in the Champenois style. It has a nave without transept, and a semi-circular choir with 3 apses. The archaeological works revealed shallow foundations and the presence of tombs on three levels from 14th century to the early 19th century. File:Église Saint-Pierre-Saint- Paul, Chennevières-sur-Marne - Bell Tower.
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On the pillars of the nave is the Way of the Cross in mosaic. The deep presbytery houses an altar of considerable size and square shape; apse a large mosaic of Nagni Guild depicting the Nativity of Jesus and the Holy Family. The tabernacle is the work of Geoffrey Verginelli. The aisles end with apses.
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Bell tower of Sant Joan in Boí. The church of Sant Joan is situated at the entrance to the village of Boí which gives its name to the valley. The church has three naves, with apses at the eastern ends of the two side names. The original timber roof has been replaced with stone.
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The pylons, located between the arms of the tetraconch, accommodated galleries on three levels. The lower portions of each of the four apses, rather than having an unbroken wall, opened through arches into the surrounding ambulatory. The building was more than 30 m tall. The architectural details are notable for high craftsmanship and artistry.
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Its local significance grew when the Socola Monastery church underwent repairs, leaving it the only functioning place of worship in the area. Made of brick on a stone foundation, the church is small in size. It is trefoil in shape, with a foyer, vestibule, nave and altar. There are two symmetrical semicircular apses, each with a narrow arched window.
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The walls are built of coursed limestone quarried from local farms. The front doors are at the base of a tall centered steeple. Above the door is a rose window, then three lancet windows, then a louvered belfry, then an octagonal spire, then a cross. Small apses project from the sides and a large apse from the back.
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They taught in Greek. (In 1803, teaching was conducted in Romanian under the orders of Constantin Moruz). During the Russo- Turkish War (1768–1774), and the Russo-Austrian-Turkish War (1787–1792), Mavromol church was damaged and teaching ceased until 1803. The church is constructed in the style of a basilica with apses beyond the main walls.
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The piers divide the nave into three aisles. The side aisles lead into small clover-leaf shaped chapels to the east, connected to the sanctuary and ended to the east, like the sanctuary, with an apse. These chapels are the prothesis and diaconicon. The Ottomans resurfaced the apses and built a minaret, which does not exist any more.
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This is somewhat lower than expected from evolutionary modelling of a star with its observed parameters. The less massive member is an O8 main sequence star of approximately . It moves in its orbit at a speed of over and is considered to be a relativistic binary, which causes the apses of the orbit to change in a predictable way.
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Strobel, Schottenkirche, pp. 10–11. A new church, the structure which has substantially survived up to the present day, was constructed at some point between 1175 and 1180.Gaisberg, Schottenportal, p. 15. It is an example of Romanesque architecture: a three-aisled basilica with three apses, towers at the east, and a transept at the west.
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It has a transept with three apses, and the interior is covered by barrel vaults. The entrance doorway has two columns with ancient marble Visigothic capitals, while in the tympanum is depicted Christ in Majesty with Saints Paul and Peter. The chapter house (14th century) houses the tomb of the supposed founder of the monastery, Wilfred II.
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They are separated from the broad central space by large semi-circular arches on stout columns with carved capitals. The transept apses each have a balcony with a concave balustrade. Directly above the crossing is a dome supported on pendentives. Around the base of the dome are decorative gilt bands, the lower depicting a scrolling vine.
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The design is often erroneously attributed to Bramante. It has a Greek cross plan: three apses are polygonal and the one on the north side is semicircular. Other architects who helped bring the work to completion were Antonio da Sangallo the Younger, Galeazzo Alessi, Michele Sanmicheli, Vignola and Ippolito Scalza. The church was completed only by 1607.
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The church is constructed according to the Byzantine architectural tradition. It has three apses, which are a little bit narrower than naves (of which there are also three). It is a cross-domed building with four square pillars bearing three-stage arches and a cupola. The length of the building from west to east is 12.9 m.
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Besançon Cathedral () is a Roman Catholic church dedicated to Saint John located in the town of Besançon, France. It is the seat of the Archbishop of Besançon. Besançon Cathedral The cathedral consists of a large nave between two aisles, and dates from the 11th to the 13th century. It has two facing apses, each with an altar.
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The Collegiate church of St. Mary and St. Alexius in Tum is a Romanesque church constructed out of granite blocks. It was built between the years 1140 and 1161. The church was built using the opus emplectum technique. It has the form of an aisled basilica with galleries, a twin-tower west facade, and two apses (west and east).
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An external stone stairway leads to the church.The apses can only be seen from the centre of the church, because the exteriour walls are flat. Several narrow window openings and the overall visually uplifting effect create a heightened sense of spiritual power. The church is a typical Kievan Rus' construction built on an ancient stone church.
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The exterior of St Joseph's Church is of two types of stone: Kentish Ragstone (a type of limestone) with dressings of Bath Stone. The east end has three five-sided apses; the outer pair form side chapels. All three have windows with trefoil designs. The entrance is at the west end in a porch with a gabled roof.
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The church structure visible today is Romanesque in style and dates from the 11th century. The Romanesque church was probably consecrated in 1106. It has a single nave with three apses, a transept, and supports a small belltower. By the 14th-15th centuries, regional instability led to the increased need for defences, and the church was fortified.
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St. Constantine is a small island inside the lake. During the Byzantine era, there was a monastery of St. Constantine on the island. Today the island is uninhabited, but the monastery has survived Ottoman conquest of Asia Minor. The orthodox monastery has received attention from scholars because of its inscribed cross type with apses east and west.
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The Monasterio de Piedra is accessed by a medieval wall that stands as the medieval watchtower. The monastery's construction progressed in three architectural stages: Gothic (13th century), Renaissance Gothic (16th century) and Classical-Baroque (18th century). The five apses with the semicircular central are important parts of the head. The western gate is well preserved, despite the shabby facade.
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The temple is located a short distance from the coast, between Buġibba and Qawra Point. It was built during the Tarxien phase of Maltese prehistory. The temple is quite small, and part of its coralline limestone façade can still be seen. From the trilithon entrance, a corridor leads to a central area which contains three apses.
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In the southeast of the chapel there is a chair which was reputed to be a seat that was sat in by Helena, the mother of the Emperor Constantine when she was looking for the True Cross. There are two apses in the church, one dedicated to Saint Helena and one to the penitent thief on the cross.
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The church of the Theotokos Orans (Our Lady of the Sign) in Vilnius (1899–1903) demonstrates typical features of developed Russian-Byzantine architecture: exposed two-tone, striped, masonry; four symmetrical apses tightly fused into the main dome, creating a tall triangular outline; arcades blending into the domes; and a relatively small belltower, clearly subordinate to the main dome.
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Of the 9th century structure, today only ruins remain. The Romanesque church, built in the 12th century, has a nave and two aisles, without transept, and with three semi-circular apses. The latter are preceded by a presbytery located at level far lower than the rest of the church. The nave is covered by barrel vaults.
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First founded in the 11th century and rebuilt in 1256, St Nicola’s Church was rebuilt over the centuries. The front portal has a rounded arch. It is surmounted by a simple oculus and flanked by two rustic pilasters emerging from the brick facade. Internally the church with its three naves, separated by thick columns and three semicircular apses.
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The church has Baroque features made in marble dating to 1708. The main facade features the Mannerist style of the 16th century. The interior consists of three naves divided by pillars covered with coffered Mudéjar ornamentation. There are three apses, circular on the inside and rectangular on the outside, with a quarter-sphere dome, and central pentagonal vault.
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External view of the apses of the Basilica of San Lorenzo Maggiore in Milan, Italy. Early Christian churches in Milan are the first churches built immediately after the Edict of Milan (Edictum Mediolanense) in February 313, issued by Constantine the Great and Licinius, which expressly grants tolerance and religious liberty to all religions within the Roman Empire.
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95 The high walls of the nave are pierced only by very small lancet windows. The transept is of notable depth, while the choir also has lancet windows. The east end of the cathedral terminates in three apses. The statue of the Madonna della Vittoria is on the altar in the left arm of the transept.
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From evidence of various repairs and reconstructions, four distinct building phases can be distinguished. The original floorplan is a cross with apses on four sides and a narthex on the west side, with four columns supporting a dome. The altar and floor were originally of marble. Tiles on the outer walls have Kufic-like decorative patterns.
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The central altar apse, the prothesis and the sacristy are in eastern part. The central nave is connected to the lateral naves in the western part through the arcade. The exterior is distinguished by the liberal use of ornamental blind arcading. The apses do not project, but their internal position is marked by deep recesses in the wall.
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In 1446, a bull by Pope Eugenius had placed the monastery under the rule of the Monastery of San Eugenio in Siena. In 1554, the site was occupied by the Florentine and Imperial forces.Bulletino Senese Di Storia Patria, Volume 3, 1893, page 135. Located below Mount Maggio, the Romanesque stone abbey church has three naves and three apses.
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Although the board awarded first prize to a joint collaboration of Victor Schroeter and Andrey Huhn, this eight-dome design was rejected due to high cost. In the end the board chose a simpler design by David Grimm. Grimm reused a cross-shaped pattern invented by Roman Kuzmin, with four symmetrical apses tightly blended into the main volume (unlike the Hagia Sophia prototype with only two principal apses); however, his version was extended vertically, radically departing from the flattened shapes of early Byzantine temples. Basic composition of the Tiflis cathedral became a standard for the emerging Byzantine style long before its completion. Construction of the cathedral was launched six years later, April 16, 1871, in the upper part of Alexander’s Garden in Gunibsky Square (later known as Soborny Square, now part of Rustaveli Avenue).
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Finally, at Hagia Sophia (6th century) a combination was made which is perhaps the most remarkable piece of planning ever contrived. A central space of 100 ft (30 m) square is increased to 200 ft (60 m) in length by adding two hemicycles to it to the east and the west; these are again extended by pushing out three minor apses eastward, and two others, one on either side of a straight extension, to the west. This unbroken area, about 260 ft (80 m) long, the larger part of which is over 100 ft (30 m) wide, is entirely covered by a system of domical surfaces. Above the conchs of the small apses rise the two great semi-domes which cover the hemicycles, and between these bursts out the vast dome over the central square.
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Lower Kingswood Church of Jesus Christ and the Wisdom of God Interior showing chancel section of above church Sidney Barnsley rebuilt the Church of Jesus Christ and the Wisdom of God at Lower Kingswood, Surrey, in 1891 in the free Byzantine style. He used red brick and stone in various patterns, e.g. chequer work, herringbone and basketweave, and a plain tile roof. He installed a single unit aisled nave and chancel; an east end with polygonal apses, the outer ones as angled bay windows; imposing west front; a large planked and studded door with scalloped metal framing under round arch with inscription; a stone dressed diocletian window above the narthex under a pent roof; and round headed lancet windows on other façades and in the apses of the east end.
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Reconstruction of the temple roof The northern temple is the oldest part of Ħaġar Qim, containing an oval chamber with a semi-circular apse on each side. Following the second doorway is another chamber with similar apses. The northern temple uniquely has three insulated layers of flooring. The pavement on the topmost level is not marked by sacrificial fires, unlike the lower floors.
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Some of the scenes from Genesis and the life of Joseph The first mosaics were created in the apse by the Franciscan monk Jacopo, whom Vasari's Lives of the Artists wrongly supposed to be Jacopo Torriti. An inscription split between the four apses gives the start-date for the work.Touring, cit. p. 152. Producing the mosaics was a difficult and expensive undertaking.
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The current parochial church of the municipality is what was formerly the Monastery of Santa Maria de Serrateix. It is Romanesque in style, and contains one of its three original apses. The adjoining cloister is in the neoclassical style, and was constructed in the 18th century. At the center of the town of Viver is the Church of Sant Miquel, consecrated in 1187.
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Many of the frescos were painted over and only some have been restored. The apses and the eastern wall were repainted in the 12th century with Romanesque frescoes showing a variety of biblical themes including the dinner of Herod Antipas (where the dancing of Herodias' daughter leads to the execution of John the Baptist; ), the wise and foolish virgins, apostles, and St. Stephen.
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The church is subdivided into three naves with semi-circular apses. The central nave is separated by massive pillars, decorated with different forms, supporting large semi-circular arches. The roof above the central nave rests on decorative wooden trusses (an original piece is exposed on the back wall of the left nave). The presbytery can be reached along a ramp.
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The tower, one of the symbols of Valladolid, has four floors, the upper three featuring windows, and a pyramidal top. The naves and sanctuary of the church were rebuilt in the 14th century in Gothic style, following the style of Burgos Cathedral. The church has three aisles, with three polygonal apses and a transept. The nave and the aisles are rib vaulted.
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The church has a plan with a single nave with two polygonal apses, with chapels in the buttresses. The tower, with a square plan, is in brickwork like the rest of the church. The main entrance was built in 1640. The interior style dates to the Baroque renovation from 1719 and 1725, when also the orientation of the temple was changed.
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The large dome connecting the transept to the main hall was decorated with friezes and pillars. Three small apses and two very large pillars were added to support the small flank towers. Pediments were added to the three open sides of the chancel. In general, the western section of the cathedral was extensively decorated to keep up with the newly renovated eastern section.
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The buildings of the monastery were destroyed several times throughout its history. The architectural group that has survived is a mixture of styles, the product of different construction period. In the 10th century, the first church of the monastery was destroyed after being attacked by Saracen troops. In 957, the bishop of Girona, Arnulf, dedicated a new temple, with three apses.
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Monastery's plaza Built in a basilica plan, the naves include barrel vaults with an apse; two semicircular apses are vaulted with quarter spheres. These are joined together with four arches on each side, and are decorated with Lombard-style pilasters on top. Some columns have been replaced. The bell tower is from 1900 replacing a Romanesque once, which disappeared during the Catalan Revolt.
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Two frame the entrance of the altar, while the remaining four stand below the dome. The church has three apses, all of a semicircular design. Materials used for the church's construction were bricks and mortar, resulting in interchanging rows of red and white. The church's interior has preserved a number of medieval frescoes, particularly in the lower reaches of the walls and pillars.
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The church was enlarged around 1180 when the apses were demolished and the chancel extended. The priory was dissolved around 1440, and it became a parish church. It was further altered in the 15th century, the nave was extensively restored 1824 by Richard Carver and the chancel rebuilt between 1863 and 1865 by John Norton. The interior contains two Norman fonts.
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The two smaller mosaics depict the Archangel Michael and Holy Agnes. The two mosaics "St. Benedict receive the Rule of the Order" and "Glory of St. Benedict " are in the aisles of the church. Between 1986 and 1987, the artist Valentin Oman designed casein tempera colors and later removed the side walls of the sanctuary and the two side apses.
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The former priory chapel of Saint-Nicolas is now a Protestant church. The church is in the form of a cross and has retained some of its romanesque elements. It was remodeled between 1585 and 1587, when the choir was replaced with three semi-circular apses. The roof in the typical style of the Bernese Oberland dates from the 17th century.
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The building, in Romanesque style, is on the Latin cross plan; it has a nave and two aisles, a short transept and three semicircular apses. The latter were replaced by Gothic ones in the 15th century. The transept is covered by barrel vault, the aisles by groin vault, and the nave by cross vault in late-Romanesque or Proto-Gothic style. The dome.
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"Старобългарско изкуство", Том ІІ - Никола Мавродинов, издателство "Наука и изкуство", София, 1959 г. Church of Saints Peter and Paul, Veliko Tarnovo A peculiar type of Christian churches were those with a triconch plan. They are small, one-naved with or without a narthex. Their main peculiarity were the three conchas (apses) placed in the eastern, southern and northern walls of the naos.
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The church is located between two courtyards, known as atrio Comita and atrio Metropoli. In the southern side is the main entrance, a 15th-century portal in Catalan Gothic style. It is surmounted by a rounded arch supported by two columns, whose capitals have angels with coats of arms. The church has two apses, one on each shorter side of the rectangular plan.
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The Gegrėnai Jesus of Nazareth wooden church belongs to the archaic type of sacral architecture. It has a rectangular layout with three wall apses and a sacristy on the right-hand side. In 1850, a second sacristy was built that was symmetrical to the first. The facades are tower-less, while the rectangular windows are finished with semi-circular arches.
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During restoration works, some fragments of 12th-century frescos were discovered in the apses. Remains of four other churches in the same style, decorated with pitchers and coloured stones instead of frescos, were discovered in Grodno and Vawkavysk. They all date back to the turn of the 13th century, as do remains of the first stone palace in the Old Castle.
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Now add three apses on the east side opening from the three divisions, and opposite to the west put a narrow entrance porch running right across the front. Still in front put a square court. The court is the atrium and usually has a fountain in the middle under a canopy resting on pillars. The entrance porch is the narthex.
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The Cathedral of St. James () in Šibenik, Croatia is a triple-nave catholic basilica with three apses and a dome (32 m high inside). It is the episcopal seat of the Šibenik diocese. It is also the most important architectural monument of the Renaissance in the entire country. Since 2000, the cathedral has been on the UNESCO World Heritage List.
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A church is documented at the site since 1234. It was defined by a basilica layout with three naves, but it was refurbished over the centuries starting in the 18th century, in part due to earthquake damage. The present church mostly was designed in 1833. The three rounded apses of the earlier Romanesque church were converted into a single square space.
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The site was adopted in 1335 by the Franciscans, who began an annual pilgrimage there. A three- aisled basilica with a vaulted choir and an apse was built on the supposed house of Cleophas. In the nineteenth century, the church was in ruins. The nave was almost destroyed and there was a wall three meters high instead of the apses.
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On stylistic grounds, it has been dated to the late 12th century. The katholikon, whose foundations survive, was a cross-in-square domed church with three semicircular apses, and sported a floor decoration by inlaid marble in geometric patterns very similar to the nearby Church of Hosios Loukas. The katholikon collapsed ca. 1890, and the narthex was transformed into the current church.
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Investigations made in 1864 have established the fact that the nave and the aisles of the existing basilica correspond with those of the primitive church; the atrium, however, which dates from the 9th century, and two smaller apses, flanking a new central apse of greater depth than the original, were erected. The altar occupies about the same place as in the time of St. Ambrose, and the columns of the ciborium over the altar appear never to have been disturbed; they still rest on the original pavement. In the following centuries the edifice underwent several restorations and partial reconstructions, assuming the current appearance in the 12th century. The basilica plan of the original edifice was maintained, with an apse and two aisles, all with apses, and a portico with arches supported by semicolumns and pilasters preceding the entrance.
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The church of Saint George is a hexaconch—a six- apse domed building—originally constructed in the 10th or 11th century and since then remodeled several times. Built of sandstone, both inner and outer walls were once faced with dressed stone slabs. The entrances are located in the southwestern and northwestern apses. The southwestern porch is topped by a belfry, which is a 17th-century annex.
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Overview The Mosaic ceiling of the Florence Baptistery is a set of mosaics covering the internal dome and apses of the Baptistery of Florence. It is one of the most important cycles of medieval Italian mosaics, created between 1225 and around 1330 using designs by major Florentine painters such as Cimabue, Coppo di Marcovaldo, Meliore and the Maestro della Maddalena, probably by mosaicists from Venice.
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Between the narthex and the nave there are two massive pillars with iconic style column heads. Lateral apses are hollowed in the lateral sides of the nave, in the thickness of the walls. The iconostasis (templon), separating the nave from the altar (sanctuary), is sculpted in yew wood and gilded in gold. It was made by Constantin Zugravul in 1816, on the expense of lady Elencu Paladi.
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The construction was executed in two stages. In 1117-1119 the square-shaped nave with three apses, and the main dome were built. The original interior was well-lighted thanks to the large number of windows. This modest size was perceived as surprisingly holistic: the lateral aisles were fused with the space under the dome by means of the columns which stand close to the walls.
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The interior was frescoed in 1199 The small stone church is built as a cube and has one dome. It is based on four pillars and has three apses at the eastern side. The type of a small church was developed in Novgorod in the end of the 12th century, and there are several churches of this type, in Novgorod and in Staraya Ladoga.
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The main church is rectangular in form, with three naves and three apses. The main apse is pentagonal. The founding date for the church is not clear but is believed to have been built on surviving parts of a 12-13th century Greek church on the site. The original roof of the main church was made of timber and had fallen-in by 1929.
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The Romanesque church was built in 1130, and has a nave and two aisles with a transept, and four apses. The portal, in a rather archaic style, comes probably from a previous building. It is surmounted by a rose window with a diameter of 3.5 meters. The interior features a series of side columns, with capitals having vegetable motifs, used to reinforce the central vault.
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The Church of Saint Panteleimon () in Gorno Nerezi, North Macedonia, is a small 12th-century Byzantine church located in a monastery complex. The church and monastery are dedicated to St. Panteleimon, the patron saint of physicians. The church was constructed in 1164 as a foundation of Alexios Angelos, a son of Constantine Angelos. The church has a domed cruciform core, three apses, and a rectangular narthex.
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The circular church, formerly domed, is 27 m high and is characterised by simplicity and technical primitivism. It has three radially situated apses and an ambulatory around the central area, surmounted by circular gallery. The circular shape is typical of the early medieval age in Dalmatia. It was built on the Roman forum, and materials from buildings in the latter were used in its construction.
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It was built in the 10th or 11th century, during Byzantine times as a church, and received its present name and function after the Ottoman conquest of the city in 1461. The north entrance was built by the Ottomans. In 1975 a large restoration took place and the ceiling was covered with concrete. The building has three naves and their apses are made of ancient stone blocks.
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The inscription in one of the lunettes of the double window commemorates Stasio Grimaldi di Giovanni, who contributed financially to the building works of the cathedral. The cathedral has a basilical ground plan, with three naves and three semicircular apses with piers on round bases. The interior has been returned to its original condition after lengthy restoration works between 1930 and 1969, which removed the Baroque additions.
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Archaeologists believe that the apses were originally covered by roofing. The effort is a remarkable feat when considering the monuments were constructed when the wheel had not yet been introduced and no metal tools were available to the Maltese Islanders. Small, spherical stones have been discovered. They were used as ball bearings for the vehicles that transported the enormous stone blocks used for the temples.
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A large Calvary cross stood at the peak until it was replaced with the chapel. The chapel was built in 1899 using Cream City brick and decorated with stone trim. An arched portico with limestone columns and a rose window set the entrance while three hemispherical apses flank the other three sides. It is crowned by an octagonal tower with a peaked roof and clerestory windows.
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The main motiv of the four apses are the life of christ with a central figure of the blessing Christ in the eastern apse spanning 17 m. The mosaics are reminiscent of Byzantine works from the 11th and 12th century in Southern Italy (Palermo, Monreale) and Venice. For the ground colour, gold tessera with pure gold are used, as gold symbolizes the transfiguration of Christ.
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Further damage was caused by a fire in 1169, but the most catastrophic event was the 1693 earthquake, which again left it mostly in ruins. It was subsequently rebuilt in Baroque style. Today, traces of the original Norman edifice include part of the transept, the two towers and the three semicircular apses, composed of large lava stones, most of them recovered from imperial Roman buildings.
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Villaute is a small village in the west of the province of Burgos, Spain. It is about 45 km from the province capital of Burgos, and 5 km from the town of Villadiego. The main sites in the village are the 12th-century church of St. Martin (which is one of the few in the world containing two apses)Portal de Arteguías. Odra PisuergaRománico burgalés.
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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.
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This style was standard throughout Russia during this period. The second style, the Novgorodian style, consisted of three apses and had roofs with arched gables. This second style was prominent in the early years of the Republic of Novgorod and also in the last years of the Republic, when this style was revitalized to make a statement against the rising power of Moscow.Ianin, "Medieval Novgorod ," 209.
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The central apse appears to be a later Byzantine reconstruction, since it lacks the four tiers of five niches, which feature ornamental brickwork and adorn the lateral ones.Van Millingen (1912), p. 172. Above the niches runs a cornice. The style of the side apses resembles strongly that of those of Pantokrator Church, and is a further element in favour of a late dating of the building.
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Its masonry is of locally quarried stone and marble. The chapel of Saint Demetrios is a small, single- room building that was built in 1684 and painted in 1689–1696. The small cemetery chapel dedicated to All Saints is the oldest building, with frescoes dating to 1638. The refectory is an elongated building with three apses on its eastern end, which are also decorated with frescoes.
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But the most representative monument in Naron is the Romanesque Church of O Couto, which is in the ancient monastery of San Martiño de Xuvia and dates from the 12th century. The church has a basilical layout (three naves and semicircular apses). Inside, there is the Gothic grave of Rodrigo Esquío. The portico and the tower of the façade were added later, in the 18th century.
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The exonarthex of the church The church is composed of the main church and the later exonarthex. The main church is a three-aisled basilica with a cross roof formed by a vertical transept in the main aisle. The side-aisles are considerably lower and are separated from the central aisle by columns supporting six arches. To the east the church features three three-sided apses.
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The column in front of the church dates to the 18th-century and has a lion atop, a symbol of the neighborhood. The interior has a nave and two aisles; it ends in typical multilobular semicircular Romanesque apses. There are two side chapels that date from the late Renaissance. The right aisle has an image of the Madonna which is highly venerated by the Milanese population.
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If correct, Avan would be the first such example of a church with five cupolas. The church is quatrefoil in plan, with an octagonal central bay originally with a dome above. There are four semi-circular apses, and four three-quarter circle diagonal niches leading to circular chambers in the corners of the church. The circular shape of the side-chapels gives the church its unique design.
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The structure of this monument a central plan with eastern apses flanked by 2 sacristies exerted a decisive influence on the evolution of Christian architectural forms, and to a certain extent on Islamic style. Al-Omari Mosque of Bosra is one of the oldest surviving mosques in Islamic history.Al-Omari Mosque Archnet Digital Library. Close by are the Kharaba Bridge and the Gemarrin Bridge, both Roman bridges.
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It has three apses that are embellished by two orders of superposed niches separated by small elegant columns. These columns are completely painted, and lend to the spaces' richness and sacredness. The motif of the broken tympanum surmounting each niche is particularly interesting. Attached to the haikal (sanctuary) screen that shields the sanctuary from the public areas are icons of Saints Shenute, Bishoi and Bigoul.
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The Shivta town is in the central Negev and has not been fully excavated. The finds unearthed so far have revealed remnants of double and triple storied houses, churches with apses, roads, a residence of the governor, a town square, a farm, wine presses, and many more. The building material used in construction of the buildings is limestone. There is no compound wall enclosing the village.
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This consisted of a square hall inscribed as a building with four apses, whose semicircular hollows overhung by semi-cupolas were articulated by four columns. Around this space ran the ambulatory surmounted by a space later used as a women's gallery. Towers rose at the four corners of the square building. The whole was topped by a dome of which we know little, this having been lost.
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St. Basil's Church St. Basil's Church has four pillars, three apses and one dome. The western facade is flanked by two round towers, probably in imitation of the Saint Sophia Cathedral in Kyiv. The building is distinguished by elaborate brick facades, interlaced with bands of polished colored stone. The complicated design of pilasters points to a complex system of roofing and to a very high dome.
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The architecture of the church is typical for Novgorod. The church is based on four pillars and has one dome and three apses. The church is small (the area of the floor is and slightly asymmetric with respect to the north-south direction). This is explained by the fact that the church was built inside an existing fortress, and the space was quite limited.
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The Lykhny church is a domed cross- in-square design, built of straight rows of well-refined ashlar stone. The small dome, with a low drum and a sloping roof, is based on four freely standing piers. The western portion of the building includes an upper gallery. The façades are simple, apertured with windows and marked with three protruding apses protruding from the east wall.
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Ruins of the Bzyb church in 2006. The Bzyb Church is a ruined medieval Christian church at the village of Bzyb in Abkhazia/Georgia, on the right bank of the Bzyb River. It is part of the Bzyb fortress complex and date to the latter half of the 9th century or 10th century. The church is a large domed cross-in-square design, with three projecting apses.
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The Holy Forty Martyrs Church (, tsarkva "Sv. Chetirideset machenitsi") is a medieval Eastern Orthodox church constructed in 1230 in the town of Veliko Tarnovo in Bulgaria, the former capital of the Second Bulgarian Empire. The Holy Forty Martyrs Church, an elongated six-columned basilica, has three semicircular apses and a narrow narthex from the west. Another building was added later to the west side of the church.
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It has a nave with two aisles, and apses from the original edifice. In the interior is a fresco (1474) by Manfredino Boxilio, portraying the then sovereign of Novi, Oriana di Campofregoso and saints. The Oratory of St. Madeleine houses a massive cavalry composed of 21 wooden statues and two natural-size horses, as well as an 8-statuettes terracotta Complaint of Christ. Both are from Renaissance.
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During the Second Empire the murals on the church walls closely encompassed every part of the surface: walls, vaults, columns, wall piers, arches, apses."Старобългарско изкуство", Богдан Филов, издателство "Отечество", София, 1993 г. Their positioning was in horizontal layers according to the church canon. Plinth from SS Forty Martyrs Church in Tarnovo The ktitors of the Boyana Church sevastokrator Kaloyan and his wife Desislava.
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The rear area is characterized by three high apses, the central only slightly larger. Only the northern one has maintained the original decoration with pilaster strips and small arches. On the western side is the cylindrical tower which replaced the second square tower, crumbled in an unknown date. On the same side a forepart was added in the 13th-14th centuries with an ogival entrance.
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A single spacious interior compartment around the subdome bay includes radially oriented semi- circular apses. One of these, the altar apse, projects outward prominently due to its large bema. The drum of the dome is also faceted. Each facet of the main body of the church as well as that of the dome and gallery terminate in a pediment with three lines of polygonal cornices.
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The exterior's main feature are the three apses (the central polygonal and the side ones semicircular), characterized by large coat of arms. Opposite a three-storey loggia with Renaissance arches, a semicircular auditorium has been built; the classical theatre festival of Alcantara is held here in the summer. The interior has a nave and two aisles. The cloister, in Gothic-style, has a square plan with two floors.
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It continued a basilica-like theme from the frigidarium with a cross-vaulted middle bay and three projecting apses. These architectural techniques created the feeling of a more open space for the patron. Dressing rooms, also known as apodyteria, were located on either side of the caldarium. Along the sides of the caldarium were private rooms that are believed to have had multiple functions, including private baths, poetry readings, rhetoricians, etc.
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The ends of the hall are in the form of shallow apses, with marbled niches, and below the bold cornice runs an egg-and-dart moulding. Both the drawing and dining rooms at Sennicotts have coved ceilings with a bead moulding on the ceiling flat, and an unusual leaf enriched torus moulding at the cornice. Charles Baker lived until 1839, when the estate passed to his nephew, Christopher Teesdale.
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Trefoil in form, the church has semicircular apses on the exterior and interior, with a single octagonal spire above the nave. Notably, the western wall and the altar are rounded, probably an Armenian influence that came through Russia. There is a row of circular windows on the upper part of the church. The vestibule has a space for the choir, divided from the nave by a wall nearly a meter thick.
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The church was in a trefoil plan, with semicircular apses on the exterior as well as the interior. The walls of the interior were painted and there was a single spire, with an angular roof. A wall separated the nave from the vestibule. Cătălina Mihalache, History at the Iași County Cultural Office site In 1593, Trifon Korobeynikov, while passing through the city, noted the church's "height and grandeur".
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The crypt, mostly located under the apse and the presbytery, dates from the 11th century and is inspired by Theodosius' cistern and the Mosque–Cathedral of Córdoba. It has three semi-circular apses and forty-eight bays supported by more than seventy columns, semicolumns and pillars taken from different ancient and medieval buildings. The decoration includes remains of frescoes dating from the Middle Ages through the 16th century. The pavement mosaics.
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The apses are of a semicircular design; the middle apse, the largest of the three, houses a three-tiered synthronon (stone benches for the clergy). The western section of the church includes a narthex, which has a baptistery with three semi-domes attached to its south wall. There are several entrances to the church, none of which can be considered the main entrance. The basilica is not topped by a dome.
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Romanesque features of the cathedral date from its origins in the late Romanesque period. Characteristic of the Romanesque style, there were initially five staggered apses, a single transept and three naves in the main body of the building. 245x245px 13th century developments include the clerestory, with moulded windows, statues of angels and an oculus. The Anglo-Norman architectural influence can be seen, among other places, in the cathedral's sexpartite rib vaulting.
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In the eighth century, the first cathedral was replaced by a more important building that would be completed under the reign of Charlemagne. Bishop Remigius von Straßburg (also known as Rémi) wished to be buried in the crypt, according to his will dated 778. It was certainly in this building that the Oaths of Strasbourg were pronounced in 842. Excavations revealed that this Carolingian cathedral had three naves and three apses.
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Plan of the mosque, after Van Millingen, Byzantine Churches of Constantinople (1912) The building was originally of the ambulatory type, and is oriented in east- northeast - west-southwest direction. It has a central dome and a three apses, placed of the east side. An esonarthex and exonarthex are placed in the west side. On the other three sides the dome was originally surrounded by arcades surmounted by barrel vaults.
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A three-aisled basilica with three semicircular altar apses and no transept was built. The core masonry of the western tower and the tower building are the only parts of this building which remain today. During the 13th and 14th centuries the three-aisled basilica was transformed into a Gothic hall church. Four more stories were added to the western tower and the chancel took on a rectangular shape.
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A church was built on the site by the 12th century, but rebuilt in 1236 by Cardinal Jacopo da Pecoraria. The original structure is decidedly Romanesque basilica plan with three naves closed by semi-circular apses. The interior and the façade were remodeled in throughout the centuries. After a sudden collapse of the nave in 1951, the latest restoration removed many of the additions accumulated over the centuries.
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Interior of the church decorated for a wedding The church is a cross-domed building supported by six circular pillars. The outside is articulated with projecting pilasters, which have rounded corners, as does the building itself. The ante-nave contains the choir loft, accessed by a narrow gradatory in the western wall. Two other stairs were discovered in the walls of the side apses; their purpose is not clear.
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The next in order is the Murugan temple, which is well decorated with an elegant façade and is akin to the Shiva temple. Next in line is the Thirumal temple built to a rectangular plan and with lion mounted columned (four columns) galleries on both long sides. The Indran temple is the next in line. It is built to a simple plan with no embellishing carvings in its apses.
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The interior follows a common basilica plan, with a nave and two aisles divided by two pilasters, and three apses. The central apse is rather elongated to house the rectory. The right aisle is home to a baptistery and three altars with canvasses of saints. At the end of the aisles is the Immaculate altar, preceded by a marble balaustrade, over which is a marble statue of the Madonna.
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On his way he visited Kiy Island and was pleased to see his wooden cross still standing. Upon becoming the Patriarch a year later, Nikon ordered a monastery to be established on the spot. The monastery was dedicated to the True Cross in 1656, whereupon 4537 peasants were declared its property. dolomite; the walls above the choir gallery are constructed of granite boulders; while the vaults and apses are brick.
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The masonry is composed of alternated courses of bricks and stone, typical of the late Byzantine architecture in Constantinople. The lush decoration of the south and of the main apses (the latter is heptagonal), is made of a triple order of niches, the middle order being alternated with triple windows. The bricks are arranged to form patterns like arches, hooks, Greek frets, sun crosses, swastikas and fans.Krautheimer (1986), p. 467.
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The western (narthex) wall survives almost intact, while the other walls are known by way of excavations. The western part of the church was separated from the naos, forming a narthex, flanked by a baptistery on the north and a projecting tower on the south. The tower contained the winding stairs leading to the gallery for the ruling prince, his family, and guests. The foundations of the apses of Monomakh's church.
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Klein (2006), p. 80 Following the end of iconoclasm, it was extensively rebuilt and redecorated by Emperor Michael III (r. 842–867). As restored, it was a relatively small building with a ribbed dome, three apses, a narthex and a "splendidly fashioned" atrium.Maguire (2004), p. 56 On the occasion of its rededication, probably in 864, the Patriarch Photios held one of his most famous homilies lauding the church's spectacular decoration.
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Another view of the Metekhi church The Metekhi church is a cross-cupola church. While this style was the most common throughout the Middle Ages, the Metekhi church is somewhat anachronistic with its three projecting apses in the east facade and the four freestanding pillars supporting the cupola within. The church is made of brick and dressed stone. The restoration of the 17th, 18th, and 19th centuries mostly employed brick.
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Linda Eischen, "L'Architecture civile: Renaissance et Baroque" in Alex Langini, L'art au Luxembourg: de la Renaissance au début du XXIe siècle, Fonds Mercartor, Brussels, 2006. .Jacques Mersch, "Luxembourg: vues anciennes 1598–1825", Editions Paul Bruck, Luxembourg, 1977. Joachim Laukens: Château La Fontaine (1656) In the gardens, a Venus fountain was built. This was a rectangular pool with semi-circular apses, with a Venus statue in the middle, riding on a whale.
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This was a unique building with so-called three-leaf frontal and half-barrel vaults, the first in Europe. The cathedral and its original stone dome was finished by Nikola Firentinac following the original plans of Juraj. On the cathedral there is a coronal of 72 sculpture portraits on the outside wall of the apses. Juraj himself did 40 of them, and all are unique with original characteristics on their faces.
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The Church of the Holy Cross (Église Sainte-Croix) is a Roman Catholic abbey church located in Bordeaux, southern France. It is annexed to a Benedictine abbey founded in the 7th century, and was built in the late 11th-early 12th centuries. The façade is in the Romanesque architectural style. The church has a nave and four aisles, a transept with apses on each arm, and a polygonal apse.
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The church has a nave and two aisles, separated by octagonal columns with Romanesque capitals and round columns with Baroque capitals. It ends in large apses, and has a series of chapels opening into the aisles. The wall decoration is overwhelmingly Baroque. Other artworks include a choir by Matteo da Campione, the high altar by Andrea Appiani, and the presbytery and transept frescoes by Giuseppe Meda and Giuseppe Arcimboldi.
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The chapel of the crucifix and a baptistery occupy the anterior chapels, while towards the apses is the oratory of the confraternity and the sacristy, opening to the aedicule with the icons of the Virgin. The icon was restored in 1973. The icon has writing in gothic letters stating “Virgo parit Christum velut angelus intimat ipsum”.One translation: the Virgin gives birth to Christ as the angel shares.
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The Ducal Chapel (Cappella Ducale or Cappella Grande) was used by the family for its religious rites. It is a hall on a square plan, turned into an octagon by the introduction of four apses at the corners. The sides have the same length as the chapel's height up to the hemispherical dome. The chapel is decorated with lilies from the Farnese coat of arms and Mannerist masks portraying angels.
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On the east and west sides were superimposed colonnades of seven bays, screening the aisles and first floor galleries. At the north and south end there were short arms, wide, terminating in shallow segmental apses. The architectural elements and decorations were strictly Roman in inspiration. Below the rotunda there was a tea and supper room, of the same shape but divided into five aisles by the piers supporting the floor above.
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It is an example of transition from the Romanesque to Gothic architecture, although the interior was largely renewed in 1749. It has a nearly square plan, with a nave and two aisles without a transept, a with polygonal apses; the nave has a coffered ceiling. The main altar, in marble, was built in the 18th century. A side entrance has a horseshoe arch, perhaps dating to the Caliphate age.
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This was unique architecture with the so-called three-leaf frontal and half-barrel vaults, the first in Europe. The cathedral and its original stone dome was finished by Nikola Firentinac following the original plans of Juraj. On the cathedral, there is a coronal of 72 sculpture portraits on the outside wall of the apses. Juraj himself did 40 of them, and all are unique with original characteristics on their faces.
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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.
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Mosaic in the ambulatory The 4th-century mosaics on the ambulatory vault are contemporary with the building, and show a stark contrast to those in the apses, being essentially secular, with panels containing geometric patterns, small heads or figures within compartmented frames, birds with branches of foliage, vases and other objects, and vine patterns with cherubs harvesting and wine-making. This last type of scene also appears on Constantina's sarcophagus, as it does on the ends of the Sarcophagus of Junius Bassus. While the mosaics of the apses have very clear Christian imagery, those in the ambulatory are much more secular and could be considered Dionysiac with their images of grapes, fruit, birds, and mythological figures.. This is especially true of the floor mosaics which were similar in style to those in the ambulatory, filled with cupids, birds, and Bacchus and grapevines. This may reflect the merging of pagan and Christian values in Rome,Marilyn Stokstad, Medieval Art (New York: Harper & Row Publishers, 1986), 29.
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A first chapel at the lake was built in 1134 by the Provosts of Berchtesgaden. In 1697 it was rebuilt in a Baroque style with a floor plan modeled on Salzburg Cathedral, two onion domes and a red domed roof. The church features stucco work by the Salzburg artist Joseph Schmidt and a three-apse choir. The altars in the apses are consecrated to Saint Bartholomew, Saint Catherine, and Saint James respectively.
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The amiable and somewhat absent-minded head of the house joined by Mike and Psmith on arrival at Sedleigh in Mike and Psmith, Outwood is kindly chap with something pleasant and homely about him. Somehow resembling Smee in Peter Pan, with the same eyebrows and pince-nez and the same motherly look, Outwood's passion is archaeology. He runs the school archeology club, and spends much of his time pondering apses, plinths, and cromlechs.
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The mausoleum is of circular form with an ambulatory surrounding a central dome. The fabric of Santa Costanza survives in essentially its original form. Despite the loss of the coloured stone veneers of the walls, some damage to the mosaics and incorrect restoration, the building stands in excellent condition as a prime example of Early Christian art and architecture. The vaults of the apses and ambulatory display well preserved examples of Late Roman mosaics.
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The entrance reused a pagan building, to which was added a vaulted ceiling and a floor mosaic with black and white tiles. This is thought to have been intended to be used as a synagogue, a hypothesis supported by a well that received drain water from the external mosaic, the existence of two separate units (for men and women), the presence of apses and the mosaic, and the distance of the building from urban areas.
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The west portal St. Peter's is a three-aisled pillar basilica with three apses, and a two-towered western facade. The arcades between the side aisles and the nave rest on rectangular masonry pillars, whose decoration is not original to the building, but was added in the course of the 19th-century restorations.Schnell and Utz, Pfarrkirche, 3. Two portals provide access to the building, one from the west and one from the south.
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Apses were no longer built. Another peculiarity is that the north side of the churches almost always lacked windows; whether for practical, religious or superstitious reasons is not known. Stylistically, a conservative Early Gothic style, still strongly reminiscent of Romanesque through its heavy volumes and often round arches, would prevail until the end of the 13th century. Influences came from Westphalia, conveyed via Visby, an indication of the trade connections of the time.
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The church of Santa María d'Àneu is located in the upper valley of the Noguera Pallaresa, Pyrenees mountain region. The building once belonged to a Benedictine Monastery, it is divided into a nave and aisles by six pairs of piers, taking the shape of a cross. The east end concludes in three semicircular apses, the central apse was decorated with frescoes.Kuhn, Ch. L., Romanesque Mural Painting of Catalonia, Cambridge, 1930, p. 45.
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St Michael's Church has exerted great influence on developments in architecture. The complex bears exceptional testimony to a civilization that has disappeared. These two edifices and their artistic treasures give a better overall and more immediate understanding than any other decoration in Romanesque churches in the Christian West. St Michael's Church was built between 1010 and 1020 on a symmetrical plan with two apses that was characteristic of Ottonian Romanesque art in Old Saxony.
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The church is characterized by opposed apses, an unusual feature shared with the tenth-century church of San Cebrián de Mazote (also constructed during the apogee of the Kingdom of León). The church's decoration is a mixture of Celtic elements, including lunar and astral symbols; Byzantine influences seen in its Greek-cross plant; Arab elements, especially a small umbrella roof dome which covers the principal altar; and Mozarabic influence, seen in its famous horseshoe arches.
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Its walls, from the floor to the top of the clerestory, are decorated with 15 murals made of mosaics on each side, and depicts scenes from the Old Testament. The exposed timber ceiling was inspired by Trinity Church and is constructed with tied hammer beams, which can be seen radiating in the chancel. The floor of the church slopes downward towards the crossing. The chancel and transepts are three semi-circular apses.
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The mass calculated from apsidal motion of the orbits is . This is somewhat lower than expected from evolutionary modelling of a star with its observed parameters. The less massive member is an O8 main sequence star of approximately . It moves in its orbit at a speed of over 300 km/s and is considered to be a relativistic binary, which causes the apses of the orbit to change in a predictable way.
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Open recess (iwan) of the Yerevan Kiosk The Yerevan Kiosk (Revan Köşkü) served as a religious retreat of 40 days. It is a rather small pavilion with a central dome and three apses for sofas and textiles. The fourth wall contains the door and a fireplace. The wall facing the colonnade is set with marble, the other walls with low-cost İznik blue-and-white tiles, patterned after those of a century earlier.
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The Church of Saint John (Surp Hovanes), also known as Mastara Church, in Mastara, Armenia dates from the 5th century. It features a variation of the cruciform plan and central cupola'd church. In accordance with its square plan, the four projecting apses, inward-facing circular and outward facing polygonal, offer the requisite supports to hold up the imposing polygonal cupola. The complex church designs are like those in Avan and St. Hripsime Church, Echmiadzin.
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Especially in the interior, its Gothic aspect stands out, since in the 16th century reforms the Romanesque lateral apses were destroyed to build the ambulatory. The two outer towers of the main façade with merlons give an aspect of military strength to the cathedral, as in other religious buildings of the same period, for the temple-fortress functions that they were to assume. The one of Sigüenza was named like the "fortis seguntina".
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The first Armenian churches were built between the 4th and 7th century, beginning when Armenia converted to Christianity, and ending with the Arab invasion of Armenia. The early churches were mostly simple basilicas, but some with side apses. By the 5th century the typical cupola cone in the center had become widely used. By the 7th century, centrally-planned churches had been built and a more complicated niched buttress and radiating Hrip'simé style had formed.
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The church is located on a scenic location, atop a hill dividing the valleys of the Pesa and Virginio streams. A church at the site is documented since the 10th century, and the multiple apses retain a Lombard-Romanesque architectural style. The interior has a nave and two aisles with "matronaei". The interior houses a Madonna with Child of Agnolo Gaddi's school and a Crucifixion by Santi di Tito dating from 1590.
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Ramón de Castellazuelo was a Bishop of Zaragoza between 1185 and 1216 AD. Co- Cathedral Basilica of Our Lady of the Pillar. As Bishop, he continued construction on the Cathedral of Zaragoza which his predecessor Pedro Tarroja had begun.-ZARAGOZA. CATEDRAL DE SAN SALVADOR ("La Seo")- . The project maintained the old mosque, converted into a church, but added it to a head, five apses and a doorway flanked by two square towers.
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The Roman Catholic Church of Our Lady of Lourdes was designed by F. A. Walters and built in 1908–15 at the expense of the 15th Duke of Norfolk. It is neo-Norman, with three apses and a tower at the southeast corner. The Congregational Church was built in 1825 in a neoclassical style with Tuscan columns.Pevsner, 1960, page 54 The Methodist Church was built in 1867–68 in a Gothic Revival style.
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Today the interior of the church has only the nave and one aisle, as the right aisle was annexed to the cloister. Two apses are present, the right one having been eliminated to build the Capitular Hall. The vaults have ogival arches, while the nave is divided in two by a wall inspired to the French jubé. The latter has five ogival arches, and is decorated by two rows of polychrome sculptures.
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The interaction between the water and architecture in Vencie was a particular inspiration. The facade with its filigree angels was based on San Giorgio Maggiore in Venice. The overall design, with its three apses and the vast nave is, however, heavily influenced by the church of San Salvador, Venice. The combination of the "Zentralbau" and hall church structures had a significant influence on several subsequent buildings of the Schinkel school in Berlin.
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The church, well preserved, is dedicated to St. Stephen. It is built in the form of a cross-dome of four apses, with a circular tambour (inverted bell of the Corinthian capital) over a cupola. There are four altars in the church. The gavit, added in the western part of the church in subsequent years, is in the shape of barrel; it is vaulted and appears like a tunnel approach to the church.
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This three-apse shape is typical of the Ġgantija phase. Unfortunately, the greater part of the first two apses and the whole of the façade have been razed to ground level. The north wall is in a better state of preservation. Originally, the entrance of the temple opened on a court, but in later additions during the Tarxien phase, the temple's doorway was closed off, with altars set in the corners formed by the closure.
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Archaeologists have found evidence that shows that the Neolithic population became extinct and the islands were uninhabited. Archaeologists think that this could have been due to no agricultural produce, civil warfare, or the Neolithic population being murdered by war-like tribes. Archaeologists have uncovered the remains of the three apses (semi-circular rooms) of the temple. Beyond the main entrance, there is a wide elliptical area about 25 m long and 15 m wide.
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The new Baroque church was built from 1690–96; Johann Arnold Nering modeled it after the sober appearance of the Nieuwe Kerk in The Hague. It was dedicated in the presence of the new King in Prussia, Frederick I on 23 January 1701. By 1819 the German reformed church was known simply as the Burgkirche (Castle Church). The wooden vault of the nave was covered with stucco, and only the apses had a stellar vault.
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Legend: (A)Temple 3600-3300 BC, (B) Temple 3600-3300 BC, (1) Entrance 2d temple, (2) Abside of the oracle. The corridor leads into a central torba (a cement-like material) court, radiating three semi-circular chambers. These were partially walled off at some time in the Saflieni phase; pottery shards were recovered from the internal packing of this wall. The apses are constructed with roughly-hewn stone walls and have a rock floor.
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Very little Merovingian architecture has been preserved. The earliest churches seem to have been timber-built, with larger examples being of a basilica type. The most completely surviving example, a baptistery in Poitiers, is a building with three apses of a Gallo-Roman style. A number of small baptistries can be seen in Southern France: as these fell out of fashion, they were not updated and have subsequently survived as they were.
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Detail of the apses as viewed from southeast. The difference in masonry between the surviving Byzantine parts (low) and the later Ottoman additions (high) can be easily noticed. The building lies on a high vaulted basement, which was used also during the Byzantine period only for secular purposes. The masonry of the basement has been built adopting the technique of the "recessed brick", typical of the Byzantine architecture of the middle period.
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The church is an example of late Romanesque art, constructed during the 12th and 13th centuries."San Juan de Ortega", El Camino de Santiago The oldest part of the church is the three twelfth century apses, built either by or under the direction of St John. Isabella I of Castile had Juan de Colonia, architect of Burgos Cathedral, add Gothic arches in the fifteenth century. She also financed construction of the Chapel of St Nicholas.
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In 1996, he created a solar spectrum environment for the Dwan Light Sanctuary at the United World College in Montezuma, New Mexico. This installation includes 24 prisms mounted in two apses and four skylights so that there is solar spectrum in the sanctuary from sunrise to sunset every day. He has also created permanent solar spectrum installations in more than 20 other locations including Saitama University Medical School near Tokyo in 1999.Klaus OTTMANN (2013).
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The main apse is crowned by a loggia surmounted by two frieze with geometrical and vegetables patterns, and has blind arcades with semi-columns. The latter's capitals have also vegetable themes, with the exception of one, decorated by Angels with Last Judgement's Trumpets. The transept's apses have a structure similar to the main one. Notable is Giovanni da Campione's porch in the left transept, which is supported by columns departing from lions in Veronese marble.
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The transition from the square bay to the circle of the dome was effected through squinches. The side apses communicated openly with the sanctuary and the central bay rather than forming individual chambers. Apart from the 8th-century Georgian foundation inscription, there is another, heavily damaged, almost illegible Georgian inscription in the southern façade and, next to it, a fragment in Armenian identifying the Armenian catholicos Gevorg III Loretsi (r. 1069–1072).
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In 1655, the monks Isaiah and Lazarus built a new church with a four-domed basilica with two- storeyed apses on either side of the tabernacle. The main part of St. Karapet Church was built of polished basalt, and the high, slender drum dome was made of brick. The decoration elements were multicoloured at the bottom of the walls. The name of the architect, David Usta, is mentioned in the inscription above the church tabernacle.
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The architecture of its eastern end forms a triconch or trefoil plan, consisting of three apses around the crossing, similar to that at St. Maria im Kapitol. The church was badly damaged in World War II; restoration work was completed in 1985. Great St. Martin Church in December, 2014 As of 2009 Great Saint Martin is being used by a branch of the Monastic Fraternities of Jerusalem and is open for visits again.
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Fulltofta Church was built approximately 1160–1175, possibly by the same workshop responsible for building the nearby church of Bosjökloster, as indicated by the similarities between the unusual apses of the churches. These are decorated with sandstone lesenes. Fulltofta Church also has cornerstones of the same material, and still intact are the portals of the southern entrance and fragments of the northern portal. The main building material of the church is otherwise fieldstone.
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In 1962, the extramural settlement, on a former island, known as Kostelisko, was excavated. The church was a round structure with four apses or niches set within the thickness of the walls of the rotunda. The church had survived into the 15th century, when it had been fortified during the Hussite wars. The cemetery associated with the church contained about 80 burials of the Great Moravian period, but also early medieval burials.
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In the 11th century, the monumental cities were built along the entire Dalmatian coast. Houses were out of stone, on ground floor there were shops or dinners (natively – konoba) like in cities as: Poreč, Rab, Zadar, Trogir and Split. In them the most important buildings were churches. They were commonly stone- built basilicas with three naves, three apses, columns, arches, arcades and wooden roofs; build near monasteries of Benedictian monks who came out of Italy.
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Beyond the temple entrance is an oval area long and wide with large slab walls, originally topped by courses of masonry. The two apsidal ends are separated from the central court by two vertical slabs pierced by rectangular openings. These openings are thought to have been adorned with curtains to limit access to the side apses. The central area is paved with well-set smooth blocks, and along the walls are low stone altars, originally decorated with pit-marks.
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Four more small apses existed on the transept arms. Among the few surviving buildings of Faversham Abbey are the two Barns at Abbey Farm. The smaller (Minor) Barn dates from 1425 and the larger (Major) Barn dates from 1476. In the farmyard of which they form part there are other listed buildings, including Abbey Farmhouse, part of which dates from the 14th century, and a small building which is thought to have been the Abbot’s stable.
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The façade of the southern arm of the transept dates from 1342, and is in brickwork, as is typical in Lombard Gothic architecture. Its structure is similar to the northern arm, but has slightly more detailed decoration. The Crucifixion by Il Pordenone, in the counter-façade The three apses are all surmounted by loggias with small columns, each having a human face stretching out from the capital. The central apse is much higher than the flanking ones.
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The National Art Museum of Catalonia keeps the two side apses from Sant Quirze de Pedret and the Museu Diocesà i Comarcal in Solsona keeps the decoration of the central apse. Taken together they present an important apocalyptic series in which the subject of the Church is related to the coming of the Day of Judgement in a way that is not frequent, centering on the parable of the wise and foolish Virgins in the southern apsidiole.
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The parish was established by Alfonso X the Wise in the name of Saint Denis as the city was returned to Christian rule on Saint Denis's Day in 1264. The church has a basilica plan, divided into three naves by tall and simple pillars adorned with Almohad decorations. The arcades (aside from those near the high altar) are ogival. The naves end with apses with Baroque altars, including the high altar which dates to the pre-Baroque renovation.
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The side entrances are smaller than the frontal portal. The building features a high nave, separated by massive columns from the two aisles, three apses and a grand Baroque dome at the intersection of the nave and the transepts. The main altar holds a polyptych by Titian, portraying a version of the Assumption of the Virgin.Dubrovnik Tourist Board This painting probably dates from 1552; the side altars hold paintings of Italian and Dalmatian masters of later centuries.
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The church is on the basilica plan, with a nave and two aisles, with a transept over whose crossing is the hendecagonal dome. The transept ends with three semicircular apses. Notable is the Majesty Portico (Pórtico de la Majestad), which houses the southern entrance. It was built in the reign of Sancho IV of Castile and León (1284–1295) and is decorated with polychrome sculptures depicting scenes of the life of the Virgin, Christ, and the Final Judgement.
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The churches of Old Shoreham and Boxgrove Priory have similar architecture to Lessay Abbey. Uncommon in England except for in Sussex and Kent, which were relatively close to Normandy, many Sussex churches were built with apses. Examples include churches at Newhaven, Keymer, North Marden and Upwaltham. Three examples of rounded west church towers of the type most commonly found in East Anglia exist around the lower Ouse valley at Piddinghoe, Southease and St Michael's at Lewes.
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Tower Arches Capital Door detailing Statuary Commemorative plaque Interior view of the monastery church Grounds It was built in the mid-12th century with the only ornamentation being that of the porch, decorated with columns and capitals. Its plan is a Latin cross, with four square apses. The largest of these has the same width as the nave while remaining open to the sides of the transept. The roof of the nave is a pointed arch supported on arches.
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The church is built using rock extracted from quarries of the nearby La Colilla. However, as in all the churches of Avila where this rock is described as sandstone, it is in fact decomposed granite. It is attributed to Giral Fruchel, the architect who introduced the Gothic style in Spain from France. San Vicente is on the Latin cross plan, with a nave and two aisles ending in semicircular apses, with a large transept, ciborium, atrium and a crypt.
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In 1514, Arduino degli Arriguzzi was chosen as the architect to construct the dome. His proposal included a large dome resting upon the width between the side aisles, which necessitated larger transepts and apses. This led to a form of a Latin cross, which was said to outdo St. Peter's Basilica in Rome. The project was considered too complicated, and after building the first two pillars and two triangular pylons for the dome, the work was halted.
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The Atsquri church of the Dormition () is a ruined medieval cathedral in the village of Atsquri, Akhaltsikhe Municipality, in Georgia's south-central region of Samtskhe-Javakheti. Originally built in the 10th–11th century, the church was rebuilt shortly after the destructive earthquake of 1283. It was a crossed-dome church with three protruding apses on the east. Of what was one of the largest cathedrals in Georgia in its time, only ruined walls survived into the 21st century.
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La Seo, night. In 1318 Pope John XXII created the archbishopric of Zaragoza, making it independent of the see of Tarragona, and with that the building became a metropolitan cathedral. From this point the additions were carried out using cheap materials that were found nearby in abundance: bricks and plaster. Under the supervision of the archbishop Pedro López de Luna (1317–1345) a Gothic church with three naves (the present three central naves) was built, keeping the Romanesque apses.
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Domes were introduced in a number of Roman building types such as temples, thermae, palaces, mausolea and later also churches. Semi-domes also became a favoured architectural element and were adopted as apses in Christian church architecture. Monumental domes began to appear in the 1st century BC in Rome and the provinces around the Mediterranean Sea. Along with vaults and trusses, they gradually replaced the traditional post and lintel construction which makes use of the column and architrave.
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Fresco of Christ Pantocrator on the ceiling of Karanlık Kilise Karanlık Kilise (or the Dark Church) was a monastic compound built in the 11th century. It is a domed church with one main apse, two small apses and four columns. It was decorated with scenes from the New Testament: Christ Pantocrator, Nativity, Adoration of the Magi, First Bath, Last Supper, Betrayal of Judas, Crucifixion, Anastasis. After the Turkish invasion it was used as a pigeon house until the 1950s.
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At the opposite side, the sanctuary has also a polygonal shape with five outer walls. In the middle it is the nave, enlarged on both lateral sides by two polygonal apses, also with five short outer walls. Behind the iconostasis, on both sides of the sanctuary, but unobserved from outside, there are two rectangular pockets like rooms used as prothesis and diaconicon. In Moldavia, loana Cristache-Panait mentioned about 30 wooden churches with a similar trefoil plan.
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Most of them have a cross-shaped ground plan, often with one or two apses. In the rooms near the churches, tombs were cut in the walls. In order to supply the people within with fresh air for breathing, heating, and lighting for a siege of up to six months, there was a complex system of ventilation shafts, which still function today. These also served as the outlet for the smoke from cooking fires in the kitchens.
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It was not until 1797 that Patriarch Gregory V was able to begin large-scale restoration work. The current state of the church largely dates from this rebuilding. The church has the plan of a three-aisled basilica with three semicircular apses on the east side and a transverse narthex on the west. The interior is divided into three aisles by colonnades, with the tall pews of ebony wood placed along the line of the columns.
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Ev. church Nümbrecht The 1000-year-old church next to the castle in Nümbrecht is one of the most interesting sacral buildings of the area: the tower was built in Romanesque style, the romanesque part of the interior features massive medieval pillars and reinforcing arches. The ribbed structure of the apses is typical of Gothic style. Flat vaults were added at the end of the 17th century. The top construction of the tower and the altar reflects Baroque architecture.
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It is covered by crossed vaults on Gothic arches and is inspired, on a reduced scale, by the Duomo of Milan. The vaults are alternatively decorated with geometrical shapes and starry skies. The transept and the main chapel end with square-plan chapels with smaller, semi-circular apses on three sides. The façade of the church is famous for its exuberant decorations, typical of Lombard architecture, every part being decorated with reliefs, inlaid marble and statues.
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Over one hundred buildings have survived which provide a testament to the popularity of the new, monumental style of Romanesque architecture. The style was influenced by Cologne, particularly early on. Among those is the Crypt of Saint Leonard at Wawel Hill in Kraków and the Cathedral of Płock, built in 1144. Many similar churches from that era, usually round or square with semicircular apses, can be found throughout Poland, in towns like Ostrów Lednicki or Giecz.
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The naos is the central liturgical area and bema the sanctuary. On the other hand, a radically abbreviated, "compact" form of the cross-in-square existed, built without narthex and with the three apses adjoining directly onto the easternmost bays of the naos. This plan was particularly common in the provinces, for example in southern Italy,For example, the Cattolica in Stilo, S. Marco in Rossano, and S. Pietro in Otranto. See Wharton, Art of empire, 139-45.
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The architectural approach of the Slavine School, one of 44 such informal schools of the Bulgarian National Revival, is unique with its implementation of Gothic decorative features. Projects by the Slavine School prominently include geometric decorations based on the triangle on apses, domes and external narthexes, as well as sharp-pointed window and door arches. Another discerning feature of the school is the exterior stone relief decoration, in which rosette ornaments play an important part.Тулешков, pp.
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The local basilica with three apses was used and possibly reconstructed in the second half of the 6thcentury. The community leaders were buried in the basilica or in the nearby cemetery. A lady buried in the cemetery wore a silver garment pin with the inscription BONOSA, tentatively identified as her name. The origin of the community is uncertain, with some scholars regarding them as the descendants of the local Romanized population, others identifying them as Byzantine prisoners of war.
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It was flanked, on either side, by small rectangular chambers, corresponding to the pastophoria. The building had three entrances, on the south, west, and north. The main nave appears to have been damaged in an earthquake not long after the church's construction and part of its northeastern sector was converted into the south aisle of a new, smaller building. This new church terminated in two distinctive horseshoe-shaped apses, the larger of which had a synthronon.
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All are set amidst courtyards, terraces and garden paths. Cosanti Location and orientation of the buildings is significant. Many structures are placed beneath ground level and are surrounded by mounds of earth so they are naturally insulated year round, moderating their interior temperatures. Soleri designed and built south-facing apses (partial domes) as passive energy collectors that collect light and heat in the lower winter sun, deflecting it and creating shade in the higher summer sun.
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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.
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The church was built in the shape of a Latin cross with a nave divided into four sections, and a sanctuary with three square apses. Its presbytery had a central square topped by a pentagon. (See also ) In 1191, the king confirmed the monastery and its surrounding fields as belonging to the Cistercian Order. The aged abbot of Santa María de Huerta, bishop Martín de Finojosa (later canonized), consecrated the church in September 1213 and died days later.
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Hagia Sophia was built in Trebizond during the reign of Manuel I between 1238 and 1263.Eastmond, Anthony. "The Byzantine Empires in the Thirteenth Century" in Art and Identity in Thirteenth-Century Byzantium: Hagia Sophia and the Empire of Trebizond. Burlington, VT: Ashgate, 2004, p. 1. The oldest graffiti carved in the apses of the church contain the dates 1291 and 1293.Gabriel Millet, "Les monastères et les églises de Trébizonde", Bulletin de correspondance hellénique, 19 (1895), p.
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As explained by an inscription in the church written by Ambrose himself, the church's plan was on the Greek Cross with apses on the arms, a feature present only in the Church of the Holy Apostles in Constantinople. In front of the basilica was a porticoed atrium. Under the basilica's altar were housed the relics of the Apostles, which are still present. In 397, when the body of St. Nazarus was discovered, a new apse was created.
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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.
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In the case of the Santa Maria della Consolazione, the image has ended up in one of the semicircular apses, but it is this church that has the architectonic connections with the sanctuary of Macereto. Four main pillars that are connected by great arches, which are decorated identically, support the central dome. The arches are decorated with coffers with rosettes. Both churches have the same decorations and it is this style that links the Todi and Macereto sanctuaries, pointed out by most commentators.
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On the church's roof there are three tall wooden steeples. The interior consists of the porch, narthex, nave and altar. The narthex is separated from the nave by a massive arcade, and the lateral apses are hollowed in the thickness of the walls. The interior walls of the church and the iconostasis icons were painted in 1880 by painters T. Ioan and D. Iliescu, the same painters who painted in 1882 the walls for the Church "Dormition of the Virgin Mary".
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The predecessor of the present church was a Romanesque brick basilica with side aisles, a central nave, choir, main apse and side apses. It was in existence by 1188. Parts of this original building were reused in the construction of the present church. The transept of the former building gave the width of the new nave, on the north side of which two Romanesque windows are to be found together with part of the original stone walls of the previous building.
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Sacred Destinations:, The Twelve Romanesque Churches of Cologne (accessed 2011-04-17) Measuring 100 m x 40 m and encompassing 4,000 square metres of internal space, St. Maria is the largest of the Romanesque churches in Cologne. Like many of the latter, it has an east end which is trefoil in shape, with three apses. It has a nave and aisles and three towers to the west. It is considered the most important work of German church architecture of the Salian dynasty.
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The building is in Romanesque Revival architecture style. In the main facade is placed an artistic canopy and a porch and a small "portico" with four columns. On the left side there is the civic tower town which functions also as a bell tower of the church. In its interior, with a Latin cross plan, there is a nave and two aisles on which there are two apses, respectively, to St. Nicholas, the patron saint of Palmi, and to the Sacred Heart.
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Julia de Wolf Addison: Arts and Crafts in the Middle Ages Medieval Histories Twelve towers and twelve gate-houses alternate along the outside of the hoop. The layout of the towers is a Greek cross with four apses (alternately rounded with domed roofs and square with pitched roofs) and a doorway. The upper parts of the towers have a narrower form, extending above the candles on the hoop and topped with large balls. Small statues or lamps probably originally stood inside these towers.
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These stories hold greater implications for the modern day viewer as it shows what was considered to be the most important elements of Christianity at the time. The original single nave church with five apses has several significant Early Middle Ages frescoes from around 800. The paintings are organized in five rows that stretch from the southern wall across the west wall to the northern wall. The top row features scenes from the life of King David of the Hebrew Bible/Old Testament.
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The cathedral is in a transitional style between Romanesque and Gothic. It has a basilica plan with a nave and two aisles, a transept with unequal arms, three semicircular apses with deep presbyteries. The apse has three windows in the lower part, and other seven in the upper one, of ogival shape. The nave has a height of 26 metres at the dome, a length and a width of 16.5 m, while the aisles are 13 m height and 8.25 m wide.
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Pieve Santa Mariona di Tàlcini () is a ruined medieval pieve (church) in Corsica, in the territory of the commune of Corte in the department of Haute- Corse. Formerly located in the heart of the old Diocese of Aleria, the Pieve was built probably in the twelfth and thirteenth century by craftsmen trained in Pisan architecture in Corsica. It has the modest dimensions of in length by wide. In a poor state of conservation, the twin apses and stone alignment can still be seen.
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Remains of an ancient shrine to Perun discovered in Peryn consisted of a wide circular platform centred around a statue, encircled by a trench with eight apses, which contained sacrificial altars and possibly additional statues. The overall plan of the shrine shows clear symbolism of the number nine. This is sometimes interpreted that Perun, in fact, had nine sons (or eight sons, with himself, the father, being the ninth Perun). In some Slavic folk songs, nine unnamed brothers are mentioned.
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The top floor was elevated only to the height of two rows of stone masonry, as evidenced by the incomplete half-columns situated on the facades. In the second stage, accomplished in 1291 by the patrons Dasapet and Karapet, the top – a small church with two altar apses, crowned with a multicolumn rotund belfry – was completed. The entrance to the church was from the roof of the auditorium by a cantilever stone stair. The decoration of the building was rather modest.
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We can judge the appearance of the Aleviz church only from the blueprint "Kremlenagrad" of the early 1600s, where it is shown with three-headed, with three apses and two aisles (probably not before the second half of the 16th century). Under Tsar Feodor Alekseevich in the years 1681-1684. the building was rebuilt and turned into a one-domed church with a rectangular altar and a refectory on the west side. The Saint Lazare chapel at the same time was abolished.
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It has a nave and two aisles; the transept has three apses. The diocese of which the building was the cathedral was founded at some date between a bull of Pope John XIX in 1025, which does not mention it among the suffragan sees of Bari, and the bull Quia nostris temporibus of Pope Urban II in 1089, which does list it among them. Its bishop Raus, the first whose name is known, took part in the Third Lateran Council in 1179.
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In 1395 a fire destroyed the cathedral's ceiling, which was rebuilt in the following years and was substantially renovated in the early 16th century. In the same period the aisles were added and the central nave was enlarged. In Baroque times the St. Horosia Chapel, the loggia and the cloister were added, while the interior received an altarpiece and other decorations. In the late 18th century one of the apses was demolished and rebuilt, and the central apse was renovated.
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N. Pevsner, J. Fleming, H. Honour, Dizionario di architettura, cit., voce Longhena, Baldassarre. After the pestilence of 1630, he began the construction of the Church of Santa Maria della Salute, using a central plan. In the octagonal body of the basilica, Longhena added a sanctuary bordered on either side by two apses, similar to that adopted by Andrea Palladio in Il Redentore; this solution strengthens the longitudinal axis of the temple, which in fact became the central body in the proper nave.
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The crypt is that of the Romanesque building, and was originally divided into a central and side spaces by columns, and had three apses. After the construction of the Baroque tribune, the central room was destroyed and the side ones buried. After the 1960s restoration, here were found two capitals, fragments of columns, fragments of 12th-century frescoes, and two marble slabs from the late 12th century. The counter-façade houses the Arch of St. Atto, with three marble bas-reliefs from 1337.
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The nymphaeum was internally dived by a courtyard with a room to the south containing an apsidal fountain and rectangular basins. In this phase, the nymphaeum measured 45 m long and 15 m wide. After its destruction in the earthquakes of the late fourth century, the nymphaeum was rebuilt as a three-aisled basilica with apses along the southern wall. This structure was used as a temporary church between 370 and 410 during the construction of the ecclesiastical precinct to the west.
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A dominant process in cliff formation is rockfall. Variations of slope steepness along the escarpments are due to the distinctive bedding of the rocks and to variability in rock type: on thick sequences of homogeneous sandstone vertical faces have developed, while intercalations of thinly bedded fine-grained sediments lead to steps in the slopes. Caverns and apses have formed along bedding planes and along curved joints. These natural cavities have sometimes been expanded into larger caves by the inhabitants of the area.
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The facade is for the most part smooth, with decorative elements concentrated around the windows of the eastern apses. Horizontal bands below the gables run around all four sides and serve as a unifying element. The north portico of the main entrance is not a later addition but was built at the same time as the rest of the church. Legend has it also that the Metekhi cliff was a site of the martyrdom of Habo (8th century), Tbilisi’s patron saint.
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So that from this time forward, large Orthodox churches were triapsidal (having three apses on the eastern side). Smaller churches still have only one chamber containing the Altar, the Prothesis and the Diaconicon. In the Syriac Churches, the ritual is different, as both Prothesis and Diaconicon are generally rectangular, and the former constitutes a chamber for the deposit of offerings by the faithful. Consequently, it is sometimes placed on the south side, if by doing so it is more accessible to the laity.
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The Church of the Immaculate Conception of the Holy Virgin Mary is a basilica style church, while its wooden structure is of a characteristically Samogitian pyramid shape. The roof of its central nave is large, double-sided and three-sided above the apse. At the apex of the pediment there are two rounded turrets, with tin covered elements and a cross. The central altar and two smaller side altars in the apses are wooden and Baroque in form with spiral columns.
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In 990 Bishop Haimont ordered the construction of a new cathedral on the Romano-Rhenish plan: a nave, two transepts, two opposing apses, each one flanked by two bell towers. The Holy Roman Emperor Otto III bestowed the title Count on Bishop Haimont (990-1024) and his successors in 997. The bishops had the right to appoint a temporary "count for life" (comte viager), theoretically subject to the authority of the bishop. These counts were selected from the noble family of Ardennes.
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The church is rectangular in plan and made of valuable stone blocks alternating with rows of brick. To the east, north and south, there are small semicircular apses beneath the top of the walls, flanked by pilasters that rest on bases. The wide central dome, with Neo-Gothic and Romanesque elements, sits above a square base, and is surrounded by four much smaller domes with octagonal bases. The main entrance features an imposing portal held up by eight Doric columns.
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Statue of the emperor Augustus (replica) Roman Horsehead of Waldgirmes displayed in the Saalburg museum, Bad Homburg, Germany. Found in 2009. The area, just northwest of Waldgirmes and at the eastern city limit of Wetzlar, has been the subject of archaeological excavation since 1993. The remains discovered include an impressive forum, on one side of which stood a stone-built central building or basilica, flanked by two apses, Further structures were built using the Roman half-timbered technique on stone foundations.
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Its naves—the northern one narrower than the southern—are separated by a two-arched arcade supported by a single massive pillar. Both naves terminate in apses with faceted exteriors. The walls are built of stone, and faced with neatly hewn stone slabs, while a ceiling is cut into the adjoining rock. There is a painted wooden iconostasis, made in the 18th century, with the depictions of the Savior and Twelve Apostles as well as various scenes from the life of Jesus.
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In the Nekresi church, the narthex on the west side opens onto all three aisles. The central nave terminates in a deep sanctuary apse on the east, which is flanked by the rectangular pastophoria on its either side. The side naves also end in apses. The north aisle communicates with the central nave through a door, but the corresponding door on the south aisles seems to have been blocked up centuries ago as the 16th-century frescoes now cover that area.
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It is 87 metres long, from 36 to 56 metres wide, and 75 metres high into the top of the cupola. It has a Latin Cross floor plan with a central nave and two side aisles, separated by pillars, and a Renaissance transept, with an imposing cupola over the crossing. The apses and the choir are of the 16th century. The interior has some important tapestries, and others of the 16th and 17th centuries, made in Ferrara, Florence and Antwerp.
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Eastern facade of the church with three faceted apsids The Sioni Cathedral is a typical example of medieval Georgian church architecture of an inscribed cross-in-square design with projecting polygonal apses in the east façade. Main entrance is in the west side. The dome with the tholobate is supported by the altar wall and two freely standing pillars (a more advanced design that appeared after the 11th century). Transition from the pillars to the tholobite is via pointed arches.
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It is a basilica-type church, with a central nave and two lateral aisles, and is found in the northeastern side of Moscopole, at the Akamnel neighborhood. The church has two cupolas that stay on two main pillars and eight surrounding columns. The dimensions of the two naves are 19m x 10.50m x 8m, and the length of the cupolas goes up to 9m. The apses are decorated externally by seven arches at the main entrance and four arches ones on each side.
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Beside the vegetable garden on the southwestern side of the monastery, you can see the monks' cemetery and a newer church. Kaisariani Monastery, exterior wall of church. The katholikon is of the usual Byzantine cross-in-square type, with half-hexagonal apses. The narthex and frescoes of the katholikon, however, date to Ottoman times, as do most of the other buildings of the monastery, with the exception of the olive oil press, originally a bath, which appears to be contemporary with the katholikon.
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The dome and vaults collapsed during the siege of Ovruch by Gediminas in 1321. The ruins of the church survived until 1842, when they crumbled, with the exception of three apses and a portion of the northern wall with an arch. In 1907 Aleksey Shchusev was commissioned to restore the church to its presumed original form, incorporating the remains of Rurik's church into its edifice. Restoration work lasted for two years, and it won Schusev the prestigious title of the Academician of Architecture.
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Xrobb l-Għaġin Temple had a typical temple plan with two apses and a central niche. It also had a paved court, with its entrance facing the southeast. The temple was built on ground with a steep gradient, and due to this an artificial terrace was built in front of the structure. The earliest remains in the area date back to around 4000 BC, but the temple itself was built between 3600 and 3000 BC, during the Ġgantija phase of Maltese prehistory.
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The most important building is the gothic church, whose construction began in 1256, though it has been remodeled several times since. It is built on the site of a pre-Romanesque and a Romanesque building (perhaps Asturian or Mozarabic in style). It has the clarity of line and space, and the surrounding decoration that characterises the architecture of San Bernardo. The church is rectangular in plan with three aisles; a tower at the foot of the central, widest aisle, and three polygonal apses.
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In this building, three or four rows of bricks alternate with single rows of stones, and the bricks are arranged to form several patterns. The second church was of the cross-in-square type with an almost square naos about 10.5 m wide: it had four columns sustaining the dome through pendentives, three apses - the central one having a polygonal shape - and a narthex embracing the edifice on the west and north sides.Westphalen (1998) p. 52 The dome was about 4.4.
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Church has a central shape which is dominated by a dome that lies on six apses interconnected with pillars. The church is only of all six-apse edifices in the early medieval architecture of Dalmatia that is located in Split (the others are in the Zadar area). In addition, it's also the best preserved. The maximum external length of the church is 10.30 meters, a minimum internal length 5.90 meters, while the height of the central tambour is 9.5 meters.
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Montefiore dell'Aso is a comune (municipality) in the Province of Ascoli Piceno in the Italian region Marche, located about southeast of Ancona and about northeast of Ascoli Piceno. One of several Hilltowns in Central Italy, Montefiore dell'Aso borders the following municipalities: Campofilone, Carassai, Lapedona, Massignano, Monterubbiano, Moresco, Petritoli, Ripatransone. Historical sights include the Romanesque-Gothic church of St. Francis, housing the sepulchres of Cardinal Gentile Partino (1310) and painter Adolfo de Carolis, while the apses has frescoes by the Master of Offida.
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Constructed in the eighteenth century, this building was the boat-house (arsanas) of the monks of Vatopedi Monastery. The exhibits date to the Early Christian, Byzantine, and post-Byzantine periods and come from all over Chalkidiki. Several icons of the eighteenth to early twentieth century from monasteries, churches and chapels in Chalkidiki are on display. Also noteworthy are the wall paintings from the sanctuary and prothesis apses of a chapel of the Monastery of Saint Anastasia, and several other examples of religious art.
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The church of San Niccolò, of Romanesque origin, has a nave and four aisles divided by columns and semicolumns, with two semicircular apses with mullioned windows. The central portal is from the early 14th century, while the portico is modern. It has 17th-century frescoes by Rustichino and, at the high altar, one 14th century Madonna of the Sienese School. The collegiata di Santa Maria Assunta was consecrated in 1161; of the original Romanesque edifice, the façade remains with the bell tower.
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Lastly the monks moved to the site of Øm Abbey, which succeeded. The buildings at Vitskøl were in the usual Cistercian layout, but the cruciform church, with three aisles, a transept and an apse, was intended to be unusually large, in accordance with the founder's wishes. Work on the choir and transept continued until 1287 when a fire destroyed much of the abbey. Another feature of the early building was a large cloister with several apses built into it, a local extravagance.
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Round pillars, located within the span of the apses and galleries, were provided with capitals adorned with volutes. The façade had a blind arcade along its perimeter, the arches adorned with floral ornaments. What remains of the church is part of the lower level floor half- submerged in its own ruins, including the east apse with one column of its colonnade with a carved capital.Nicole Thierry, “Les peintures historiques d’Ošk’i (T’ao),” Revue des Études Géorgiennes et Caucasiennes 2, 1986, pp.135-71.
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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.
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The church was once a one-longitudinal-nave structure with a sanctuary consisting of three apses, in the form of a trefoil on the eastern end. During later reconstruction, the middle apse was pulled down and substituted by a larger, rectangular one. An imposing bell-tower was positioned in front of entrance along with the two-story westwork in front of the church's nave. Westwork is a notable feature of Carolingian architecture, which was at its peak in Europe during the 9th century.
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The church at Hayravank was built during the late 9th century. It is a quatrefoil cruciform central-plan structure with four semi-circular apses that intersect to create squinches for the octagonal drum and conical dome to stand above. A small chapel was added in the 10th century, accessed from the southeastern corner of the church. A single portal leads into the church from the gavit, it is believed that this entry was added between the 12th and 13th centuries.
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For the upper portion of the building, he used specially- made bricks, larger than the standard Russian size, which reduced weight and allowed for more slender arch supports. Thus, the easternmost pair of columns in front of the apses are typically Russian in the use of massive rectangular open piers, whereas the remaining four are simpler Corinthian columns. The slim shape of these columns contributes significantly to the light, spacious effect of the interior. Inside, the church decoration is dominated by its fresco painting.
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It is theorized that the Ħaġar Qim complex was built in three stages, beginning with the 'Old Temple' northern apses, followed by the 'New Temple', and finally the completion of the entire structure. A few hundred metres from the temple is one of the thirteen watchtowers built by Grand Master Martin de Redin, called Ħamrija Tower. A memorial to General Sir Walter Norris Congreve, Governor of Malta from 1924–1927, is located nearby. The village of Qrendi is a further two kilometres () southwest of the temple complex.
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The Christian domed basilicas built in Sicily after the Norman Conquest also incorporate distinctly Islamic architectural elements. They include hemispherical domes positioned directly in front of apses, similar to the common positioning in mosques of domes directly in front of mihrabs, and the domes use four squinches for support, as do the domes of Islamic North Africa and Egypt. In other cases, domes exhibit Byzantine influences with tall drums, engaged columns, and blind arcades. Examples at Palermo include the Palatine Chapel (1132–1143), La Martorana (c.
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At the time attention was posed to defensive elements, such as the massive bell tower, annexed to the sacristy. A new project was launched in 1195, changing the church's plan to a basilica one, adding two aisles and a transept with four new secondary apses, covered by cross vaults in Gothic style. The construction benefited of donations from bishops and kings Alfons II and Peter IV of Aragon. Part of the new edifice was opened to worship under bishop Aspàreg de la Barca (1215–1234).
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The apse is surmounted by a square terrace with four eagles at the corners, from which the dome rises. Legend holds that a worker, who was blind in one eye, had the sight of that eye restored when he wiped it with a cloth that had cleaned an icon of the Madonna. The church was built at the site where the icon had been housed, and now contains the icon at the altar. Twelve niches in the first three apses house giant statues of the apostles.
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Almost nothing of them survived except the "Ascension of Christ" in the Latin Chapel (now confusingly surrounded by many 20th-century mosaics). More substantial fragments were preserved from the 12th-century mosaic decoration of the Church of the Nativity in Bethlehem. The mosaics in the nave are arranged in five horizontal bands with the figures of the ancestors of Christ, Councils of the Church and angels. In the apses the Annunciation, the Nativity, Adoration of the Magi and Dormition of the Blessed Virgin can be seen.
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Fernán González and Sancha were buried at San Pedro, however, and remained there until the dispersal of the monastic community in 1841 necessitated the removal of their sarcophagi to the collegiate church of San Cosme y San Damián at Covarrubias. The present ruins of the church are those of the building begun in 1080. It had three naves and three semicircular apses in the Romanesque style. Later modifications in the Gothic style transformed the outward appearance, but some of its eleventh-century capitals have been preserved.
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The north and south walls have a floor level with three arcades, a first level with three windows, and a second level with a window with three lights. On the southeast side, the three apses project boldly outside with three sides. The roof, the cornice and the wooden narthex, which replaced the old Byzantine narthex, are Ottoman. A cruciform font which belonged to the baptistery of the church and lay on the other side of the street has been moved to the Istanbul Archaeology Museum.
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Serbian Wooden Churches consists about 80 wooden religious buildings constructed from end 17th up to mid 19th centuries during Ottoman Age located in present-day Serbia and Bosnia. These churches were mostly located in the forests far from main roads. In order to preserve their identity and religion from the Ottoman Empire, the Orthodox residents built their churches from wood, so that they could easily overnight transfer them to other locations. The wooden churches are small structures of simple construction with authentic roof, without decoration and apses.
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Other important buildings were the Church of Saint Sophia in Ohrid, and the Basilica of Saint Achillius on an island in Lake Prespa, with dimensions of 30 х 50m, both modeled after the Great Basilica of Pliska. These churches had three naves and three apses. Preserved edifices from that period evincing the rich and settled Bulgarian culture at the time include three small churches dated from the late 9th or early 10th centuries in Kostur and the church in the village of German (both in modern Greece).
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The church has a fine cloister of the 12th century, constructed in part of fragments of earlier buildings. This cloister today is the location of the Museo del Sannio. The church interior was once totally frescoed by Byzantine artists: fragments of these paintings, portraying the Histories of Christ, can be still seen in the two side apses. Santa Sofia was almost destroyed by the earthquake of 1688, and rebuilt in Baroque forms by commission of the then cardinal Orsini of Benevento (later Pope Benedict XIII).
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East of this temple, a second monument was added in the Tarxien phase, with four apses and a central niche. For a period of roughly twelve centuries before the temples were built, a village already stood on the site. Its oldest extant structure is the eleven metre long straight wall to the west of the temples’ first entrance. Deposits at its base contained material from the first known human occupation of the island, the Għar Dalam phase, including charcoal, which carbon analysis dated to 4850 BC.
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The church has a cross-dome with one central apse, two side apses and two columns. The dome depicts Christ on the Throne, with geometrical patterns painted in red ochre, painted directly on the rock, believed to be symbolic in nature. Another fresco with the large locust possibly representing evil, which is warded off by the protection of two adjacent crosses. The north wall of the church contains a fresco of St. George and St Theodore on horse-back struggling against the dragon and snake.
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A tetraconch, from the Greek for "four shells", is a building, usually a church or other religious building, with four apses, one in each direction, usually of equal size. The basic ground plan of the building is therefore a Greek cross. They are most common in Byzantine, and related schools such as Armenian and Georgian architecture. It has been argued that they were developed in these areas or Syria, and the issue is a matter of contention between the two nations in the Caucasus.
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Aerial view of the triconch Sankt Maria im Kapitol, Cologne A triconch building has only three apses; normally omitting the one at the liturgical west end, which may be replaced with a narthex. The eastern apse may be considerably larger than the ones to north and south. Many churches of both types have been extended, especially to the west by addition of naves, so that they came to resemble more conventional basilica-type churches. The church in Istanbul of St. Mary of the Mongols is an example.
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In the smaller apses are two sarcophagi: one contains the relics of Saint Columba, which has been restored, and various relics are kept in the other. In the sacristy to the right is located an altar with a painting which probably depicts Saint Maurus, named by tradition as the first bishop of Bari, in the 1st century. In the palace of the Curia, adjacent to the cathedral, is situated the Diocesan Museum, where the Exultet is displayed. This is a precious manuscript of Byzantine origin, finely illuminated.
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When the building is of masonry, lintels, corners and windows will be reinforced with stone blocks. Vaults, roofs, arches and columns often presented a problem. The builders' ideal was to construct ceilings in stone barrel vault, but this was not always possible, whether because of the high cost of the labor or other technical difficulties. Very few edifices managed to use barrel vaults throughout the building; stone vaulting was often used only in the apses and wooden framing was used in the rest of the building.
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The churches of the monasteries have some features that differentiate them from those of secular clergy, especially in regard to the chorus, vestries and penitential cells. In all other respects, they follow the same rules and practice space is dedicated to the liturgy, with the center of spiritual life and religious communities. Churches are always oriented to the east, like other Christian churches (except in cases where the place names force a placement). Its plan is a Latin cross transept and apse or apses.
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The portal is flanked by two columns supporting another arch. The structure was influenced by a variety of sources. The elevated central body recalls the no-longer extant church of Santa Maria in Pertica of Pavia, while the articulation of the volumes shows the influence of Byzantine architecture. Aside from some modern statues, artworks include the late 8th- to early 9th- century frescoes, of which only fragments survive in the two side apses: the Annunciation of Zacharias, Mutism of Zacharias, the Annunciation and the Visitation.
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It was situated on the remains of a Crusader structure, which was presumably built atop the ruins of a Byzantine-era church. The remains of the Crusader- Byzantine structure, include apses of a three-aisle chapel located behind the shrine complex. The Maqam (shrine) Nabi Salih was the most important religious structure, out of 16 different edifices, in the Bani Zeid region. It served as a gathering place for families during two rites of passage for their young sons: collective circumcisions and first hair cuts.
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In 1150, a fire destroyed much of Cologne. The abbey at the site of Great St. Martin was caught in the conflagration, and although the specific damages are not known, it is supposed that the entire Church was destroyed. The Archbishop of Cologne Philipp I. von Heinsberg sanctified the new building in 1172, and the first phase of construction, the tri-apsidal structure was built, with three round apses meeting in the shape of a cross. This is the only element of the church still present today.
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269 In the 1990s, the Lebanese Directorate General of Antiquities cleared away parts of the chapel during restoration works to highlight the remains of the ancient temple; only the apses and a rectangular masonry pillar from the Christian chapel remain. The temple ruins of Bziza were featured on the 35 Lebanese piasters postage stamp in 1971, and on the 200 Lebanese piasters postage stamp in 1985. It appeared again on a 2002 Lebanese postage stamp."Lebanese postage stamps featuring the temple of Bziza". Colnect.com. Colnect.
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As a differentiating element, the apses were joined to each other through the dividing walls by semicircular-arched doors. Like all the churches from this period, there was a room over the apse, only accessible from outside through a trefoil window. The bell tower, separate from the church like in Santa Maria de Bendones, does not belong to the original construction, and stems from an initiative in the seventies by the architect and great restorer of Asturian Pre-Romanesque, Luis Menéndez Pidal y Alvarez.
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In Proposition 45 of his Principia, Newton applies his theorem of revolving orbits to develop a method for finding the force laws that govern the motions of planets. Johannes Kepler had noted that the orbits of most planets and the Moon seemed to be ellipses, and the long axis of those ellipses can determined accurately from astronomical measurements. The long axis is defined as the line connecting the positions of minimum and maximum distances to the central point, i.e., the line connecting the two apses.
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A small bath house, also accessible from the street, lay next to the southern side of the portico. In the 5th century, when the palace was imperial property, an elongated hallway was added to the rotunda in the west, accessed through a double-apsed vestibule. Its shape points to its use as a triclinium. It was 52.5 m long and 12.4 m wide with an apse at its end, while in the 6th century, six apses were added on each of its long sides.
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No changes were made to the exterior, where one can see one of the most austere constructions of the Cistercian architecture, with large buttresses in the double wall. It has a ground plan with three naves and a transept with five apsidal chapels with pointed arches and vaults of simple cross-section. Of the five apses, the one in the center is semicircular and the other four are rectangular, a Cistercian model that was also followed in the Monasterio de Santa María de Matallana (Province of Valladolid).
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In the plan, it is a cross inscribed in the rectangle. In the center of the church, on the square that we see on the crossroads of the cross arms, a cupola consisting of 14 facets is made by means of sails, in which the windows of the same quantity are cut. The cupola is based on two separately standing pillars in the west, and on the apses in the east. The eastern arm of the cross ends with an apse, whilst the remaining arms are rectangular.
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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.
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All the vaults are simple ribbed except for the one covering of the central Apse; the side apses are squared and the triforium has almost triangular windows. The interior has three naves separated with 10 columns. Beneath the choir the entrance to the cave can be found, where the image of the Virgin is believed to have been discovered, a place which has remained unchanged since then. The main reredos dates back to the 17th century, of baroque style, and with big highly decorated Solomonic columns with vine grapes and leaves.
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The use of sculptures as decoration for buildings during the full Romanesque period was something so commonplace that it was considered a necessity. Architecture and sculpting represented an inseparable iconographical program. The idea of the Church (an idea developed and disseminated by the Benedictines of Cluny), was to teach Christian doctrine through the sculptures and paintings of the apses and interior walls. The capitals of the columns, the spandrels, the friezes, the cantilevers and the archivolts of the portals were intricately decorated with stories from the Old and New Testaments.
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Interior, windows, as well as the facades of the church is adorned with ornaments. The west arm is divided into three "naves" and the east arm terminates in a semicircular apse, flanked with one compartment on each side, also topped with small apses. The south window has an interesting decoration: it is topped with radial rays formed of stones of two colors and between the arches of the paired window an image of an eagle can be seen. The drum is furnished with twisted, paired shafts and the arches relying on them.
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The interior of the Co-cathedral of Christ the King has three naves covered with a barrel vault. Along them, above the band in white Carrara marble, are wooden Stations of the Cross and stained-glass windows with scenes from the life of Jesus and Mary. At the bottom of two side aisles is the transept, which ends with two semicircular apses protruding slightly. In it are altars dedicated to St. Joseph (right altar) and Our Lady of Lourdes (left altar), also used for the custody of the Blessed Sacrament.
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Speculations can be made from the remains of the church as to its original appearance. The church apparently had different architectural traits from other churches in Serbia, even though it belongs to the Raška style chronologically. The base of the church has a triconch shape, and on the eastern side is an altar apse which is triangular on the outside and round on the inside, unlike traditional Serbian side apses, which are semicircular in shape both outside and inside. The altar itself is separated from the nave with two columns.
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369x369px The temple was built in Romanesque style, already in transition to Gothic, with a dodecagonal nave surrounding a two-storey edicule, to which three apses, a semi-circular sacristy and a square-shaped tower have been added. A lantern stands out slightly from the roof and a tower attached to the building. The tower and a sacristy added to the south east of the church. This type of construction, which has as its direct antecedent the Roman baptisteries of the early Christianity, was widely used by different Crusader Orders.
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These include both certain notable details, such as chancels lacking apses, with straight walls facing east containing three lancet windows, but also in a general tendency towards a relatively austere architecture. Inside, these churches were probably all decorated with murals, but very few of these have been preserved. A greater number of Romanesque furnishings have been preserved. Workshops specialising in making sculpted baptismal fonts were established on Gotland during the 12th century and not only supplied the churches on Gotland with decorated fonts, but also exported fonts to the entire Baltic region.
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The exact date of construction of the church is still unknown but it is one of the oldest on the Island of Capri. Some historians believe its origins could date to the fifth century as it appears to be built on the ruins of a Roman building from the Late Republican period consisting of eight columns and two apses. Others state it may have been built between the ninth and the twelfth centuries. However, an early church certainly existed when the Diocese of Capri was created in 987.
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The chapel itself is entered through a pedimented tetrastyle portico, of a sombre Doric order. It contains a domed space at the center of a Greek cross, formed by three coffered half-domed apses with oculi that supplement the subdued natural light entering through the skylight of the main dome. The cubic, semicylindrical and hemispheric volumes recall the central planning of High Renaissance churches as much as they do a Greco-Roman martyrium. White marble sculptures of the king and queen in ecstatic attitudes were made by François Joseph Bosio and Jean-Pierre Cortot.
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The arches supporting the vault rest upon half-columns, which rest upon carefully carved stone bases about two meters halfway up the walls of the nave. Interior, facing east The choir at the eastern end finishes with a half-dome vaulted apse with three semicircular arched windows, symbolizing the Trinity. Three arcades in the nave give access to the other parts of the building. There are two small chapels in the apses of the transept, aligned the same way as the main sanctuary, as in the Cistercian abbeys of Cîteaux and Clairvaux.
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The church was consecrated to the Virgin Mary. It first arose about the year 1225 (Romanesque quire and apses) and had other parts added at various widely spaced times. Because its building history is rather long, it clearly bears stylistic features from the transitional time between Romanesque architecture and Gothic architecture. The transept, with the south semitransept based on the French model and the north matching the domestic development in Germany, was completed about 1250. The nave, akin in execution to the monastery church in Otterberg, was finished about 1300.
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San Francesco was originally a thirteenth-century Gothic church belonging to the Franciscans. The original church had a rectangular plan without side chapels, with a single nave ending with three apses. The central one was probably frescoed by Giotto, to whom is also attributed the crucifix now housed in the second right chapel. Malatesta called on Alberti, as his first ecclesiastical architectural work, to transform the building and make it into a kind of personal mausoleum for him and his lover and later his wife, Isotta degli Atti.
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The eastern choir featured three apses, and the west had a deep chapel with a huge single apse rising high over an elaborate cross-vaulted hall crypt with an ambulatory. Bishop Bernward's remains were placed in the western crypt. The monastery comprised a church family and had two other sanctuaries dedicated to Martin and the Holy Cross lying in the cloister that extended northward from St. Michael's north flank. The monastery and church opened southward toward the city of Hildesheim, its south flank comprising a facade of a sort.
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Simha Vahana on the back side of the Nakula Sahadeva Ratha The ratha with its simple layout has least embellishments. The apses on the front facade, which is also the mukha-mandapa (entrance porch) of the ratha has no decorations and the façade is supported on two pillars mounted on lion-base. The chamber inside is flanked by two pilasters with elephant carvings depicted as the guardians. The cornice, all along the shrine, is supported on pillars with corbels and embellished with kudus (horseshoe-shaped dormer windows) with images of human head inside.
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Research Goodyear developed a theory that medieval churches throughout Europe displayed curved lines, concave walls, widening naves and other asymmetries, that were not accidental phenomena created by settling stone or poor construction, but the original architects' deliberate inventions. Goodyear called these deviations "architectural refinements." Between the years 1895 and 1914, Goodyear conducted survey expeditions to Europe, Turkey, Egypt and Greece visiting medieval cathedrals, churches, and mosques, meticulously noting the measurements of piers, transepts, apses, etc. and taking numerous photographs of these details in his efforts to document the occurrences of refinements.
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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.
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The abbey was founded near the basilica of Saint Alban founded in 413 and developed as part of the Carolingian Renaissance. The oldest church on the site was erected during the late Roman period and was a building with a single nave, with an area of exactly 50 by 100 Roman feet. In 805 the Carolingian basilica was consecrated, comprising three naves, but possibly originally without the transept and the two apses. At the western end was a hall the same size as the main nave, above which was a chapel of St. Michael.
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The Oxford Companion to Archaeology, by Brian M. Fagan, 1996, page 646 The building was converted into a mosque in 878, then converted back when Norman Roger I of Sicily retook the city in 1085. The roof of the nave is of Norman origin, as well as the mosaics in the apses. As part of the increased building activity after the 1693 Sicily earthquake, the cathedral was rebuilt and the façade redesigned by architect Andrea Palma in 1725–1753. The style is classified as High Sicilian Baroque, a relatively late example.
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The church was built in the 1190s and originally consisted of a nave, choir and apses. Several alterations were made to the church already during the Middle Ages. A wide, western tower was built during the 13th century but later reduced in height and transformed into a western expansion of the nave; a new tower was built on the south side of the church in the late Middle Ages. During the 15th century, a church porch was also built and the original ceiling of the church replaced with the presently visible vaults.
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Fresco of the Crucifixion on the apse of Tokalı Kilise Tokalı Kilise (or the Church of the Buckle), is the largest church in Göreme. Restoration of the church was completed during the 1980s. The only surviving example of its architectural origins is the Church of Mar Yakub in the Tur Abdin region located around present day Mardin. One noted feature of the church is the main nave containing ninth century frescoes in "provincial" style, the more recent additions are three apses of the 11th-century frescos, which are rendered in "metropolitan" style.
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At the beginning of the sixteenth century the church was enlarged in the direction of the architect Lorenzo da Bologna. The fifteenth-century church – a Latin cross with three apses divided by the choir and nave, three chapels communicating on the left side – was widely enlarged: it was built a large sanctuary that welcomed new large choir stalls. The fifteenth-century nave was flanked by two wide aisles with chapels. The church was now the subject of great works of tone evergetico that enriched the building especially in the sixteenth and seventeenth century.
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Although his figures are stiff, even "wooden",Penny, 104, who adds: "when expression is attempted, his faces are often grotesque". he takes great interest in textiles and decor in his works. Both the London altarpieces are set in spaces in front of apses decorated with gold mosaics in the manner of San Marco, Venice, and also of altarpieces by Giovanni Bellini.Penny, 111-112, and 125 The Circumcision altarpiece features several donor portraits of the family of Tommaso Raimondi, the lawyer and poet who commissioned the work; their lavish and fashionable clothes are carefully depicted.
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The building originally housed the "Noble Court" of the Lords of Cassel, who had authority over a swathe of territory from Ypres in modern Belgium to Saint-Omer. The Collégiale Notre-Dame de la Crypte is Cassel's main church, built in brick. Parts date from the 11th century but the main part is a 16th-century Gothic structure of a design known as a hallekerk or hall-church, peculiar to Flanders and Artois. It comprises a huge rectangular space with three gables, three aisles, three apses and a square tower over the transept.
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The tower is 40 m (131 ft) high and built of yellowish brick held together with clay mortar. It is the oldest surviving pagoda and was built at a time when, according to records, almost all pagodas were of wood. The pagoda has a low, plain brick pedestal or base, and a very high first story characteristic of pagodas with multiple eaves, with balconies dividing the first story into two layers and doors connecting the two parts. The ornamented arch doors and decorative apses or niches are intricately carved into teapots or lions.
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The Basilica Ulpia was composed of a great central nave with four side aisles, two on each side of the nave. The short sides of the structure formed apses, while the main entrance was via three doorways on the long east front overlooking the Forum of Trajan, which was one meter below the level of the Basilica. The columns and the walls were of precious marbles; the 50 meter (164 ft) high roof was covered by gilded bronze tiles. The east façade featured a portico with three projecting porches.
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The first column on the north side of the church near the apse was found to have the inscription of the consecration of the church. This document is painted with white letters on red and black background and is now preserved in the National Museum of Catalan Art. The interior of the church (the walls of the naves, apses and columns) were originally covered with polychrome decoration. In the early twentieth century, the National Art Museum of Catalonia in Barcelona took the mural paintings inside the church to protect and preserve them.
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Pag was the seat of a Roman Catholic Bishop of Cissa. In 1443 the new town was founded and built according to new principles of town-planning. The longitudinal and the transversal streets, the latter known as Vela ulica, intersect at a right angle, forming in this way a rectangular square with the Collegiate Church, the Duke's Palace and the unfinished Bishop's Palace, which, as well as the town walls, were built by the famous mason and sculptor Giorgio da Sebenico. The Collegiate Church is a three-nave basilica with three apses.
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Dome of the Pantheon, inner view The Romans were the first builders in the history of architecture to realize the potential of domes for the creation of large and well-defined interior spaces. Domes were introduced in a number of Roman building types such as temples, thermae, palaces, mausolea and later also churches. Half-domes also became a favoured architectural element and were adopted as apses in Christian sacred architecture. Monumental domes began to appear in the 1st century BC in Rome and the provinces around the Mediterranean Sea.
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The churches are set apart by their homogeneity, most of them (with a notable exception of the Church of Saint John) having a small rectangular nave with an apse, and a slim bell tower . A number of these churches display a light horseshoe arch, something commonly found in religious Islamic buildings such as the Great Mosque of Kairouan. The use of a frieze with vertically set cylindrical stones or baquetones, are found in the apses (and occasionally the tower) of all the churches, something unique to the region.
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The basilica at Leptis was built mainly of limestone ashlar, but the apses at either end were only limestone in the outer sections and built largely of rubble masonry faced with brick, with a number of decorative panels in opus reticulatum. The basilica stood in a new forum and was accompanied by a programme of Severan works at Leptis including thermae, a new harbour, and a public fountain. At Volubilis, principal city of Mauretania Tingitana, a basilica modelled on Leptis Magna's was completed during the short reign of Macrinus.
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The Church of San Pedro in Lárrede Between the end of the 9th century and the beginning of the 11th century, a number of churches were built in the Northern Christian kingdoms. They are widely but incorrectly known as Mozarabic architecture. This architecture is a summary of elements of diverse extraction irregularly distributed, of a form that in occasions predominate those of paleo-Christian, Visigothic or Asturian origin, while at other times emphasizes the Muslim impression. The churches have usually basilica or centralized plans, sometimes with opposing apses.
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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.
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Exterior view of the east side of St. Aposteln floor plan The Basilica of the Holy Apostles (, , ) is a Romanesque church in Cologne (Köln), located near Innenstadt's busy . The former collegiate church is dedicated to the twelve Apostles. It is one of the twelve Romanesque churches built in Cologne in that period.Sacred Destinations:, The Twelve Romanesque Churches of Cologne (accessed 2011-04-17) The church has a basilical plan of nave and aisles, and like Groß St. Martin and St. Maria im Kapitol, has three apses at the east end making a trefoil plan.
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Under the church is a crypt supported by twenty columns, some of which are ancient spolia. At the center of the crypt is the Urn of St. Anastasia, formed by a single marble block of Greek origin; it was realized by Cividale masters in the 8th century, and has decorations with flowers, crosses, arches, tondoes and rose motifs. The crypt also houses, in two apses, a Pietà of Austrian origin (early 15th century) and an Annunciation sculpted in Slovenian marble showing Byzantine influences, dating from the late 13th–early 14th century.
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The Dzveli Gavazi church is a tetraconch, its four semicircular apses, with conchs, projecting each from one side of a square. Wrapping around three-quarters of the tetraconch is an ambulatory, which terminates at the north apse. The edifice is topped by the centrally located dome which is based on an octagonal drum, pierced by three windows, one each on the east, south, and west. Transition from the square to the circle of the dome is effected through pendentives, which spring from four semicircular rubble-built columns without the intervening unifying element of a capital.
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It used the Greek cross plan prevalent during the time of the Kyivan Rus, six pillars, and three apses. A miniature church, likely a baptistery, adjoined the cathedral from the south. There was also a tower with a staircase leading to the choir loft; it was incorporated into the northern part of the narthex rather than protruding from the main block as was common at the time. It is likely that the cathedral had a single dome, although two smaller domes might have topped the tower and baptistery.
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Its architectural plan is a four column cruciform Byzantine domed basilica with north, south and east apses, and seven domes. The central area of the church is dominated by a large octagonal dome which is reinforced by the arcades of the vaulted ceilings and is supported by four massive octagonal columns. Each side of the octagonal drum supporting the dome has two arched windows which collectively illuminate the dome. In 1950 to 1955 the icons and artistic decoration of the church were done by Theodore Baran, member of St. George's parish.
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The church of Santa Maria della Rocca is considered one of the main architectural features of the whole Marche region. It is located on the westernmost tip of the town, surrounded on three sides by ravines that enhance its size. It is a large brickwork construction in Romanesque-Gothic style, designed by a master Albertino in 1330 on a pre-existing Benedictine church. The façade, looking towards the countryside, has fake columns; on the town's sides are three tall polygonal apses with fake columns in white stone, mullioned windows and Gothic Lombard bands.
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Independent from the church structure, though close to its southern facade, stands the bell tower, on a rectangular ground plan. The Church of San Pedro de Nora is located beside the River Nora, about twelve kilometres from Oviedo. This church has the construction style established in Santullano: facing eastwards, vestibule separate from the main structure, basilica-type ground plan, central nave higher than the side aisles, with intersecting wooden roof and lit by Windows with stone lattice. The straight sanctuary is divided into three apses with barrel vaults.
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Archaeological excavations have shown the presence of a Palaeo-Christian edifice in the area, built over civil Roman structures, which was later replaced by a larger church in the early Middle Ages (8th-9th centuries). The current construction, begun in the 10th century and renovated in the late 11th-early 12th centuries, has a basilica plan with a nave and two aisles. Unusual is the presence of apses the facade, probably built after the crumbling of the facade due to a flood of the Arno River. The entrance is on the northern side.
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Right next to the entrance of the site are the ruins of the early Christian basilica with a cross-shaped baptistery. The building type with opposite apses is documented in Hispania five times between the 6th and the 7th century. The discovery of nine coins at the eastern end of the nave suggests a much earlier date for the Basilica of Torre de Palma, as the embossed dates are between 335 and 357. Strong remains of foundations under the basilica suggest that another sanctuary was there before believed to have been a Temple to Mars.
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The building contained three aisles, but no transept, and a choir with three apses. Plan of the cathedral based on archaeological investigations in 1875 This church had become extremely dilapidated by the 13th century, when it was rebuilt on the same plan, but with an extension to the east. Further works were carried out in the 15th century, including the addition of several chapels, as confirmed by a bull of Pope Martin V of 1429. The bishop's functions were gradually transferred to the church, later cathedral, of St. Reparata in the early 16th century.
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The Church of St. Nicholas was built in form of a fortress. It has a trefoil plan with four branches arranged around a central circular core, three of which form the apse, and the fourth the input branch. Its dome-shaped vault is reinforced with circular-ribbed arches above which 8 small towers with battlement as a lookout were built in the 16th or 17th century during Hundred Years' Croatian–Ottoman War. Flanges that are resting on pilasters that are abutting onto the pylons between the apses are placed under the dome.
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The diameter of the hall is some 20 m, with each side of the hexagon 10.4 m wide. Each side featured an absidal niche, polygonal on the exterior and semicircular in the interior, each 7.65 m wide and 4.65 m deep, thus providing space for a semicircular bench (sigma or stibadium) and a dining table.Ball (2008) Each apse also had a door that communicated with small circular rooms, situated between the apses. A marble pool was located in the center of the hall, a feature common in Late Antiquity.
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Trogir cathedral is the most archaic example in the construction of interior arcades in Dalmatia with heavy elongated piers separating the two Gothic-ribbed aisles from the nave, vaulted later also in Gothic style in the 15th century,Ivo Delalle, Mirko Slade – Šilovič, Stanko Geič, Trogir: Small Touristic Monograph, pg. 27, Studio HRG, Zagreb (1999), three semi-circular apses and a vaulted interior above which rises the Campanile. Unfortunately, only one of the two planned towers (the southern), was raised. The cross vaults and the earlier terraces above the aisles are of Apulian influence.
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In the interior, their contour is safe. On the facades, besides two of them, all the windows are damaged. They have no adornments. In the end of the 19th century, the Bedia Church already represented a depopulated edifice, covered with plants, however, the big part of the cupola was preserved and the laying of apses was better protected. After this, in the beginning of the 20th century, with the aim to “renovate” the church, Russian monks and nuns totally removed the damaged cupola and took out the easily removable stones.
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The Al- Omari Grand Mosque was originally the old church of Saint John the Baptist, built by the crusaders in 1150 over the site of Roman imperial baths. Similar Romanesque churches with triple apses were built in Tyre and Tartus, using recuperated material such as Roman columns and capitals. In 1291, the Mamluks captured Beirut and converted the church into a mosque. It was renamed Al- Omari Mosque in the name of Caliph Omar Ibn Al-Khattab, it soon became known as "Jami’ Al-Kabir" (the Great Mosque).
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Cisternino di città is an austere neoclassical design which was approved in 1837 and completed in 1848. The design was greatly altered during its construction: originally the close proximity of neighbouring buildings meant that only one facade would be visible, but alteration and demolitions in the city during 1840 caused the building to face two different new thoroughfares. The result of the redesign was a great loggia supported by ionic columns raised above a heavy base pierced only by sparse and narrow windows. The sides of the building are embellished by apses with lunette windows.
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Blessed Be the Host of the King of Heaven, the cathedral's famous icon measuring 4 meters in width Dormition Cathedral is a tremendous six-pillared building with five apses and five domes. It was modeled after the Assumption Cathedral in Vladimir, in that it made extensive use of limestone masonry on a high limestone base, and was laid out as a three nave church with a vaulted cross-dome. It is built of well-trimmed white-stone blocks. However, Fioravanti did not use cantilever vaults as was common in Russian architecture, but introduced groin vaults and transverse arches.
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The sculptor Wiligelmus who directed the mason's yard was praised in the plaque that commemorated the founding. The program of the sculpture is not lost in a welter of detail: the wild dangerous universe of the exterior is mediated by the Biblical figures of the portals leading to the Christian world of the interior. In Wiligelmus' sculpture at Modena, the human body takes on a renewed physicality it had lost in the schematic symbolic figures of previous centuries. At the east end, three apses reflect the division of the body of the cathedral into nave and wide aisles with their bold, solid masses.
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The priory church was constructed in the late 11th century, shortly after the monastery was founded in 1088. It was however, altered in the 13th and 14th century. In the 15th century the transepts and 5 apses of the priory church were blocked off, before being demolished in the mid-16th century. The western tower was also added in the 15th century. The south aisle of the priory church had been used for parochial use from the 13th century, and following the Dissolution, the remains of the priory church were reused to create the parish church, St. Mary and St. Martin’s Church, Blyth.
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The church has the typical structure of the Cistercian basilicas, with a nave and two aisles separated by ogival arches and wooden ceiling. The main façade is characterized by a large marble portal (called Portale della Luna, "Moon portal"), decorated with high-reliefs and other re-used material. On the southern side are the Portale delle Donne ("Women's Portal"), also with marble decorations, and the bell tower, which is now shorter than originally and which was also used as a defensive structure. Opposite to the façade are three apses, with arcade decorations and mullioned windows of Arabic influence.
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The Bodbe Monastery is nested among tall Cypress trees on a steep hillside overlooking the Alazani Valley, where it commands views of the Greater Caucasus mountains. The extant church – a three-nave basilica with three protruding apses – was originally built between the 9th and 11th centuries, but has been significantly modified since then. Both exterior and interior walls have been plastered and bear the traces of restoration carried out in the 17th and 19th centuries. It consists of a small hall church with an apse built over St. Nino’s grave that is integrated into a larger aisled basilica.
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The entrance for the visitors of the basilica is on the south side, almost entirely hidden by the ancient Bishop palace (today nuns monastery); it can be reached from the jetty through a renaissance portal and a vaulted stair. The basilica has three apses (one entirely hidden by the sacristy); the central one is constructed with ashlars and decorated with a Lombard frieze. The octagonal lantern tower dates to Romanesque period, but modified in the late 18th century. The bell tower is near the apsides and it is decorated with mullioned windows in the upper part.
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The monastery church's nave has three aisles separated by columns and large horseshoe arches, with their apses and a crossing, which is not covered by a cimborio or central tower. The choir is separated from the principal nave by three horseshoe arches sometimes called an iconostasis). Despite the floor plan, the building appears from the exterior as a rectangular block. All arches take down in marble shafts and Corinthian steeples proceeding from other Visigothic or Roman constructions (as it may be appreciated in a cyma carved as from a gravestone, perhaps from the nearby Roman city of Lancia).
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Two side annexes, on the south and north, respectively, are 9th–10th-century structures, containing a sacristy and prothesis, both with apses. Sometime between 1213 and 1222, in the reign of George IV of Georgia, a narthex was added on the western end of the basilica. The narthex is richly adorned with ornamental stone-carvings in relief and covered with a vault, supported by four pillars and arches; its all three facades, columns, and arches are faced with light green smoothly hewn stone slabs. To the north of the church stands a rectangular bell-tower, remodeled several times.
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He would have seen it as a round church supported on eighteen columns or piers with an ambulatory around the perimeter on the west of the church, and the well attested site of Christ's tomb at the centre. There would have been four apses at each of the cardinal points, and on the east side there would have been a facade, so that the east apse was accessible directly from the rotunda. After restoration, this church is what would have remained of a 4th-century church built by Constantine I. Holy Sepulchre interior from Rev. Cox and Rev.
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In the 15th century it was Cardinal Mendoza who took charge of the works, covering the vaults of the crossing and reforming those of the chancel. In the following 16th century, the most important work was the ambulatory, that for its realization it was necessary to demolish a part of the Romanesque head, with which the head apses disappeared. During the Spanish Civil War, the cathedral suffered serious damage in 1936, so years later reforms were made with a major transformation of the building, as it was built a large shrine in the part of the crossing.
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The church was built before 1183 and survived intact, depicted in the 1840s by Michał Kulesza, until 1853, when the south wall collapsed, due to its perilous location on the high bank of the Neman. During restoration works, some fragments of 12th-century frescoes were discovered in the apses by the architectural historian, Vasiliy Griaznov. Remains of four other churches in the same style, decorated with pitchers and coloured stones instead of frescoes, were discovered in Grodno and Vaŭkavysk. They all date back to the turn of the 13th century, as do remains of the first stone palace in the Old Grodno Castle.
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Hildesheim Cathedral (German: '), officially the Cathedral of the Assumption of Mary (German: Hohe Domkirche St. Mariä Himmelfahrt) or simply St. Mary's Cathedral (German: Mariendom), is a medieval Roman Catholic cathedral in the city centre of Hildesheim, Germany, that serves as the seat of the Diocese of Hildesheim. The cathedral has been on the UNESCO World Cultural Heritage list since 1985, together with the nearby St. Michael's Church. The cathedral church was built between 1010 and 1020 in the Romanesque style. It follows a symmetrical plan with two apses, that is characteristic of Ottonian Romanesque architecture in Old Saxony.
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Only traces of the foundations of these two buildings remain. An older Hildesheim parish church probably once stood on the site of the Chapel of Saint Stephen next to the gatehouse at the eastern entrance to the chapel of St. Hellweg, which might date back to Hildegrim of Châlons and his expedition to East Saxony.. The cathedral was built in 872 under Bishop Altfrid as a cruciform three-aisled basilica with a two-story westwork. It is an example of Ottonian architecture, with alternating column support and semi circular apses completing the naves. The building suffered severe fire damage in 1046.
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Crypt The first church was rectangular in shape with three naves separated by columns, a main door on the east side facade, and other building which connected with the monastery. During the 11th century, two semicircular apses were added, the remains of which were found in the excavations of the 1980s. The most important addition occurred in the 12th century which included a platform built in the middle of the nave and beneath it was a crypt adjoining other section various stairwells. Following further reforms in the 18th and 19th centuries, the building was preserved, though half the size of the original.
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The Mosque of al-Khidr (also called "Maqam al-Khader") is by and was built on the site of a Byzantine monastery. The northern and southern walls were buttressed and the eastern wall has three apses. The Survey of Western Palestine related in 1875 that there were Greek inscriptions on one of the steps leading to the door at the southern wall while on the floor was a broken stone slab marked by two Maltese crosses, apparently resembling a tombstone. Further slabs and Greek inscriptions were found in the eastern part of the mosque and in the courtyard.
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Attached to the pillars are several faceted pilasters and half-columns which form, at the top, semi-circular and pointed arches bearing the supporting girth of the domes. High niches, semi-circular in the plan, framed with graceful arcatures on twin half-columns, which decorate the bottom of the altar apses, harmoniously fit in with the pillars. The walls of altar daises, decorated with geometrical ornaments, are of extraordinary interest. In Makaravank the profiled eight-pointed stars and octagons between them, arranged in two rows, are covered with varied and rich carving unique in the architecture of medieval Armenia.
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Bramante's dome was to be surmounted by a lantern with its own small dome but otherwise very similar in form to the Early Renaissance lantern of Florence Cathedral designed for Brunelleschi's dome by Michelozzo. Bramante had envisioned that the central dome would be surrounded by four lower domes at the diagonal axes. The equal chancel, nave and transept arms were each to be of two bays ending in an apse. At each corner of the building was to stand a tower, so that the overall plan was square, with the apses projecting at the cardinal points.
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Inside the temple The interior is divided into a nave and two aisles with semicircular apses, with stained glasses and four rose windows on the facades. In the main altar stands the great crucifix, a work by Joan Puigdollers. The windows of the presbytery are dedicated to Pius X, John the Evangelist, Marguerite Marie Alacoque, Paul the Apostle and John Bosco. The left altar has five stained glasses dedicated to various Marian devotions: the Virgin of Antipolo (Philippines), Our Lady of Luján (Argentina), the Assumption of Mary, Our Lady of Guadalupe (Mexico) and Our Lady of Charity (Cuba).
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The crypt was designed in a neo-Byzantine style, combining Gothic and classical elements, and decoration close to Modernisme. The space of the crypt consists of five naves separated by columns, the central one being wider, all with semicircular apses. The walls and vaults are lined with alabaster or decorated with mosaics, with scenes relating to the dedications of the altars: Mary Help of Christians, Saint Anthony of Padua, the Blessed Sacrament, Saint Joseph, and the Virgin of Montserrat. Inside the crypt Polychrome alabaster is also used for the Via Crucis (Stations of the Cross) sculpted by Josep Miret.
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Toward the end of the nineteenth century, the Greek Orthodox Patriarchate of Jerusalem received permission from the Ottoman authorities to build a church on the site of a previous basilica. The church is built over a ruined 12th-century Crusader structure, and occupies the north end of the nave and left-hand aisle of the earlier church, from which two apses survive - which, contrary to the normal rule, face north rather than east. The Ottoman authorities stipulated, that part of the plot be made available for a mosque. Mosque far older than rebuilt 19th century Greek church, is Mamluk from 14th century.
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The high-altar of the chapel of D. Fradique The sarcophagus of Esteves da Gata The monastery is located in an urban square, on a slope, but outside the medieval burg, alongside the Cross of São Francisco. The long rectangular plan, includes a transept in the form of a Latin cross with the remains of the primitive church framed in polygonal apses in the south. Not only are the rear arches, nor the tops, are sculpted, suggesting that the areas were covered in Arcosolium. Its square front is divided in two flights, topped by undulating triangular frontispiece of cornices.
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The transept, the presbytery, the nave and the two apses (dedicated to Saint Peter to the west and Saint Paul to the east) being solely for the ascetics' use. The northern and southern aisles of the basilica are furnished with four altars each. The northern aisle houses the altars (from west to east) of Saints Lucia and Cecilia, of the Holy Innocents, of Saint Martin, and of Saint Stephen. The altars on the southern aisle are dedicated (from west to east) to Saints Agatha and Agnes, to Saint Sebastian, to Saint Mauritius, and to Saint Lawrence.
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According to the local tradition the carpenters were two brothers, fled probably from Moldavia. The church was built during the pastorate of Ignat Opriș and Filip Zob Opriș, the later ordained in 1733 in Iași by the metropolitan Antoniu of Moldavia. The present church, as its forerunner, was named a Băndrenilor, after the noble founder family Șerba, nicknamed Băndreni. We do not know with whose permission the itinerant church carpenters had started the construction of an unfamiliar Moldavian church with lateral apses here, yet, the local tradition remembers the villagers became very upset for this and discharged the carpenters from their started work.
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The large eaves formed by the long ends of the lower rafters and the typical continuous roof over the apses and all around the church complete the list of Moldavian features. The much the lower part of the church represents the Moldavian school as much the superstructure, the double roof and the tower belong to the local constructive tradition. The contrasting fusion between the two models of wooden churches is actually the innovating feature of this church. The superstructure was superimposed on consoles above the lower fabric, designed in the west with a polygonal shape, like the western part of the narthex underneath.
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Early Coptic architecture is therefore of great importance in the study of Early Christian architecture in general. Despite the break with the other churches, aspects of the development of the arrangement of Coptic churches have paralleled those in Orthodoxy, such as the emergence of a solid iconostasis to separate the sanctuary, and the West, such as the movement over the centuries of the place of baptism from the narthex or outer porch into the rear of the nave. However the existence of three altars in the sanctuary, sometimes in separate apses, is typically and distinctively Coptic. The altars themselves are always free-standing.
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Because domes are concave from below, they can reflect sound and create echoes. A dome may have a "whispering gallery" at its base that at certain places transmits distinct sound to other distant places in the gallery. The half-domes over the apses of Byzantine churches helped to project the chants of the clergy. Although this can complement music, it may make speech less intelligible, leading Francesco Giorgi in 1535 to recommend vaulted ceilings for the choir areas of a church, but a flat ceiling filled with as many coffers as possible for where preaching would occur.
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Its style was essentially Romanesque, built in brick and masonry, with three naves finished in semicircular apses, the central one dedicated to Saint Mary, as in the previous church. While the cathedral was built according to the international style, examination of what has survived of its original facade, its originally indigenous nature can be noted. There is still the use of the horseshoe arch, at least decoratively. The cathedral was consecrated on November 10, 1073 during the reign of Alfonso VI. Presumably the same masons who were building the Basilica of San Isidoro of Leon worked on it.
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The initial interior painting was done in oil, in the decadent style of Gheorghe Tattarescu, by the painter Nicolae Pitaru. The present murals, executed in thick tempera in a neo-Byzantine style, were done by the painter Nicolae Stoica from 1939–59 and restored from 1989-2005 by Ion Drejoi, a student of his. The Baroque iconostasis, dating to the 19th century, was painted in oil by Pitaru. Initially extending the length of the church, covering three apses and including a dozen large icons, it was reduced to its present dimensions in the summer of 1948.
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Plan The church is on a central plan, with a diameter of , inspired by that of Hagia Sofia. In the center there are six columns, perhaps taken from the city's ancient Temple of Isis, placed at the vertices of a hexagon and connected by arches which support the dome. The internal hexagon is surrounded by a decagonal ring with eight pillars in white limestone and two columns at the sides of the entrance. The area of the three apses is circular, but the central and frontal parts form part of a star, interrupted by the portal, with four niches in the corners.
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Connecting to the church is a slim bell tower that has six floors plus a base. The artwork inside the church include the famous mural paintings by the Master of Taüll (contained in the different apses and the keys of the arches), as well as the wooden altar frontal. These works of art represent different aspects of Christianity that can also be found in many other works of art. The most famous fresco, of Christ in Majesty in the main apse of the church, has been moved to the Museu Nacional d'Art de Catalunya in Barcelona.
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The northern cityward gate is still visible, but the southern one has been destroyed through the construction of a modern canal. However, the remains of the gate frames show that the gates were rectangular, in contrast to the second set of gates added in the late Hellenistic period, which were surmounted by marble apses. The pedestal of the central pier of the later set was built of marble spolia; in front of it, facing outward from the city, is a square marble pedestal, which may have hosted an equestrian statue of a Roman emperor or general.
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From the construction point of view, the Mudéjar architecture in Aragon preferably adopts functional schemes of Cistercian Gothic, but with some differences. Buttresses are often absent, especially in the apses which characteristically have an octagonal floor plan with thick walls that can hold the thrust from the roof and which provide space to highlight brick decorations. On the other hand, buttresses are often a feature of the naves, where they may be topped by turrets, as in the style of the Basilica of Our Lady of the Pillar. There may be side chapels which are not obvious from the exterior.
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Within the interior of the Villa William Kent painted a plan of the Temple of Fortuna Virilis, the portico of which is reconstructed by Burlington on the Ionic Temple in the Orange Tree Garden. The apses utilised in the Gallery Rooms are likewise reproduced in the garden as terminating features to the two lakes. At the Bowling Green Lord Burlington positioned eight sweet chestnut trees around its perimeter, echoing the eight Tuscan columns located around the circumference of the Lower Tribune. To Burlington the primitive Tuscan order was associated with the use of trees as columns in ancient buildings.
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Its streets, bordered in places by old houses, are narrow and winding. The promenade of Morlanne laid out on the site of a Roman camp called Palestrion commands a fine view of the Adour and the pine forests of the Landes. Capital in the abbey church The church of Saint-Sever, a Romanesque building of the 12th century, with seven apses, once belonged to the Benedictine abbey founded in the 10th century. The abbey of Saint-Sever was added to the UNESCO World Heritage Sites in 1998, as part of the World Heritage Sites of the Routes of Santiago de Compostela in France.
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This monastery was the administrative centre of the Pachomian order where the monks would gather twice annually and whose library may have produced many surviving manuscripts of biblical, Gnostic, and other texts in Greek and Coptic. In North Africa, late antique basilicas were often built on a doubled plan. In the 5th century, basilicas with two apses, multiple aisles, and doubled churches were common, including examples respectively at Sufetula, Tipasa, and Djémila. Generally, North African basilica churches' altars were in the nave and the main building medium was opus africanum of local stone, and spolia was infrequently used.
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The cathedral's eastern side apses are adorned by the stone portraits of the moustached architect Lazarov (surrounded by a Christian cross and a cross rosette, symbols which call for God's protection of the experienced master) and his chief assistant, possibly Georgi Yovanov from RosomachТулешков, pp. 22–23. (flanked by floral rosettes, a symbol of youth and future blossoming). The windows are decorated with floral details and two-headed eagles. Images of protective characters like stone blocks with sword-wielding horsemen, reliefs of fire-belching dragons, deer and lions can be found on the northern church facade and the yard gate.
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The entry tower, after the additional construction of apses in the east side in 1282-83, had been turned into chapel that king Dragutin designed for his tomb. The inside of the chapel is covered by frescos with historical content and portraits of the Nemanjics. The frescoes of this Monastery, rendered in the best tradition of the Comnenus style and skillfully adapted to the architecture of the temple, which is especially pronounced in the all-embracing cupola, have particular value. The most impressive is the picture of Saint George on the horse, which is above the main entrance in the church.
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On the baldachins between them hold two statues: King David and the prophet Simon. The vault ribs end in the keystone representing the Father God, surrounded by angels and the dove (symbol of the Holy Ghost). The baptismal font, made from reddish breccias, is supported by three angels. Two Renaissance putti The apses are decorated on the outside with various sculptural decorations, including 74 small Renaissance portraits immortalising important contemporaries and figures who had for some reason particularly impressed the architect or that he deemed to tight to help foot the bill for the cathedral's construction.
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The present high altars and the apses were commissioned by Pope Clement XI (1700–1721) and designed by Alessandro Specchi. Enshrined on the apse above the high altar is a 7th-century Byzantine icon of the Virgin and Child, given by Phocas to Pope Boniface IV on the occasion of the dedication of the Pantheon for Christian worship on 13 May 609. The choir was added in 1840, and was designed by Luigi Poletti. The first niche to the right of the entrance holds a Madonna of the Girdle and St Nicholas of Bari (1686) painted by an unknown artist.
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The men behind the construction project wanted to create a Gothic cathedral, fully worthy of being the main church of an independent Haderslev Diocese. In fact, a document from that time already referred to the new church as Haderslev Cathedral. Flensburg fell in 1431 to Schleswig-Holstein forces which prevailed in the long-standing war with King Erik, and the dream of a separate Haderslev Diocese had to be abandoned. The bishop of Schleswig demanded that the construction of the new Haderslev church should be stopped, however the church was still completed in a high Gothic style with tall apses and transept.
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36 His cross- shaped structure used a complex succession of staggered simple shapes. Grimm restricted the use of curvilinear surfaces to the main dome only; apses and their roofing were polygonal – in line with Georgian and Armenian prototypes. This "linear" variety of Byzantine architecture remained uncommon in the 19th century but surged in popularity in the reign of Nicholas II.Savelyev, 2005 p.37 Despite the support of the royal family, the reign of Alexander II did not produced many examples of the style: the economy, crippled by the Crimean War and further stressed by Alexander's reforms, was too weak to support mass construction.
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They used new materials and forms while incorporating many traditional elements and symbols. Design responses included variations on the medieval church with simple massing, a rectangular nave stripped of apses, aisles and chapels, a dramatically lit sanctuary rear wall and simple belltower. Influenced by the architecture of Ancient Greece and the Modernist ideas of contemporary European architecture, Langer developed a sophisticated hybrid of ancient and modern principles of design bridging modern and traditional architecture. Typically, Langer explored the idea of the conjunction of landscape and landmark and his designs often involve a designed landscape incorporating the building.
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The construction was begun in 1059 by bishop Cadalo, later antipope with the name of Honorius II, and was consecrated by Paschal II in 1106. A basilica existed probably in the 6th century, but was later abandoned; another church had been consecrated in the rear part of the preceding one in the 9th century by the count-bishop Guibodo. The new church was heavily damaged by an earthquake in 1117 and had to be restored. Of the original building, remains can be seen in the presbytery, the transept, the choir and the apses, and in some sculpture fragments.
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The largest and most complicated central based church from the 9th century is St Donatus in Zadar. Around its circular center – with dome above – is nave in shape of a ring with three apses directed to the east; that shape is followed on the second floor forming a gallery. From those times, with its size and beauty one can only compare the chapel of Charlemagne in Aachen. Altar fence and windows of those churches were highly decorated with transparent shallow string-like ornament that is called pleter - Croatian interlace - because the strings were threaded and rethreaded through themselves.
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All of them (dozen large ones and hundreds of small ones) were built with roughly cut stone (natively called – lomljenac) bounded with a thick layer of "malter" from outside. Large churches are longitudinal with one or three naves like the Church of Holy Salvation on spring of river Cetina and the Church of Saint Cross near Nin, both built in the 9th century. The latter has strong semi-circular buttresses that give a feeling of fortification, emphasizing the bell-tower positioned in front of the entrance. Smaller churches are unusually shaped (mainly central) with several apses.
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Simple one-nave building with the wooden rib-vault ceiling, with square apse and high stained glass windows, was built from the 13th to 15th centuries. Tatars destroyed Romanesque cathedral in Zagreb during their scourge in 1240, but right after their departure, Zagreb received the title of Free City (Freistadt Zagreb) from King Béla IV. Soon after bishop Timotej began to rebuild the cathedral in new Gothic style. Building with three naves, polygonal apses and rib-vault had Romanesque round towers. The naves were built in the 14th century, and the vault was finished in the 15th.
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The faith, already spread around the Mediterranean, now expressed itself in buildings. Christian architecture was made to correspond to civic and imperial forms, and so the Basilica, a large rectangular meeting hall became general in east and west, as the model for churches, with a nave and aisles and sometimes galleries and clerestories. While civic basilicas had apses at either end, the Christian basilica usually had a single apse where the bishop and presbyters sat in a dais behind the altar. While pagan basilicas had as their focus a statue of the emperor, Christian basilicas focused on the Eucharist as the symbol of the eternal, loving and forgiving God.
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In parts of the choir there are five of these tiers of subjects or single figures one above another. The half dome of the central apse has a colossal half-length figure of Christ, with a seated Virgin and Child below; the other apses have full-length figures of St Peter and St Paul. Inscriptions on each picture explain the subject or saint represented; these are in Latin, except some few which are in Greek. The subjects in the nave begin with scenes from the Book of Genesis, illustrating the Old Testament types of Christ and His scheme of redemption, with figures of those who prophesied and prepared for His coming.
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In particular, the ceremony of slaves manumission probably took place in one of the apses of the Basilica Ulpia.The fragment of the Forma Urbis Romae, where the western apse of the Basilica is depicted, bears the inscription LIBERTATIS In late Roman Empire, the name of Atrium Libertatis was also attributed to the Curia or to an area adjacent to it.An identification of the Atrium Libertatis connected to the Curia with the reconstruction of the portico on the south-eastern side of the Forum of Caesar under Diocletian has recently been proposed: Augusto Fraschetti, La conversione. Da Roma pagana a Roma cristiana, Rome 1999, page 218 et seq.
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The interior plan has a nave and two aisles with apses, separated by twelve arches, which are supported by fourteen granite columns each with a different capital The high altar is in the presbytery area, with an 18th-century silver antependium, with episodes of the Annunciation of Mary. Alexander the Great's flight. The remaining frescoes on the walls include traces of Byzantine-style figures, such as the Madonna with Child in the right aisle. The aisles house six altars dedicated to the Resurrection of Jesus, St. Dominic, Assumption of Mary (right), the Pentecost, the Visitation of Mary and St. Anthony of Padua (left), respectively.
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"Typically understood as a simplification of his plan for St Peter's, there is evidence for Bramante's participation in its design at some level. The design, after all, has much in common with the Leonardesque themes that Bramante brought with him from Milan. Above all, the Consolazione's pristine combination of cube, drum, dome and apses shows its origins in the sketches by Leonardo that were central to his development as an artist (fig)…Though in most respects the ideas of Bramante are undeniably present, the flaccid orders on the exterior of this otherwise impressive church suggests that he may not have participated directly in its execution".Bruschi pp.
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Resafa ( [Reṣafa]), also sometimes spelled Rusafa, and known in the Byzantine era as Sergiopolis and briefly as Anastasiopolis, was a city located in the Roman province of Euphratensis, in modern-day Syria. It is an archaeological site situated southwest of the city of Raqqa and the Euphrates. Procopius describes at length the ramparts and buildings erected there by Justinian."De edificiis", II, ix The walls of Resafa, which are still well preserved, are over 1600 feet in length and about 1000 feet in width; round or square towers were erected about every hundred feet; there are also ruins of a church with three apses.
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Carl von Lebschée, 1830 The Magdalenenklause was designed to look like a ruin Although it is considered one of the park castles, the Magdalenenklause, which is somewhat hidden in the northern part of the park, differs significantly from the other castles. It was built by Joseph Effner between 1725 and 1728 and is a hermitage, designed as an artificial ruin. The single-storey building has a rectangular floor plan, the aspect ratio of which corresponds to the golden ratio. The rectangle is expanded to the northwest and southwest by two apses and two small, round extensions are attached to the corners of the building at the front.
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Above the portal is a double mullioned window with a bas-relief of the "Archangel Michael Defeating the Devil", and above it, a 16th-century rose window with twelve radiating columns. This is in turn surmounted by the Sedente ("Sitting One"), an enigmatic figure which has been variously identified as Robert III of Loritello (who funded the construction), while at the top of façade is a statue of the Redeemer. The bell tower, in a different style, most likely formed part of the medieval city's walls. The interior is divided into a nave and two aisles, ending into three apses, with an orthogonal transept.
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The Corona Tower (sometimes known as "Beckets's Crown"), a circular structure at the east end of the Trinity chapel, is widely thought to have received its name from having been built to contain the relic of the crown of St. Thomas's head which was struck off during his murder. However, Robert Willis in his Architectural History of Canterbury Cathedral (1845) rejected this idea, saying that the corona was a word applied to the eastern apses of many churches in the medieval period. In his account of a visit to the cathedral, before the destruction of the shrine, Erasmus said that the saint's head was displayed in the crypt.Withers 1897, pp.
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The part of the abbey in public ownership comprises the 13th-century abbot's house with a small cloister, the abbot's chapel, the monks' dormitory, the north transept of the church and a lapidary museum.Abbaye Sainte-Marie de Lagrasse: Visiter l'Abbaye The Romanesque church was built in the 11th century, with a single nave ending in a presbytery, with a transept and three small apses. There are a new church and a new abbot palace (18th century). Restoration works in the cloister (also from the 18th century) have found remains of an ancient Romanesque portal with a marble sculpted arch, attributed to the Master of Cabestany.
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One dome rises above the western facade and it houses the bell tower. Since the plan did not foresee the choir apses, the church has an emphasized longevity of volume. Enough light does not come to the interior of the narthex through two narrow single windows open on the west wall, so that the main source of light comes from the opposite side of the nave, but in spite of that, the narthex is underexposed in certain parts of the day. In contrast, the nave is well lit thanks to a series of cupola windows and window openings in the form of trefoil and two single windows on the side walls.
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The interior of the nave is covered with three domes, a transept of great length with lofty towers over the north and south ends, and an apsidal choir with four chevet chapels. At the crossing with the transept, is a larger dome over pendentives, which has replaced the original one destroyed in the Protestant siege of 1568. Once lighted by two lantern towers, the transept has maintained only the northern one (Abadie also modified it, and moved the medieval sculptures to other locations), characterized by several orders of mullioned windows. The semicircular choir is flanked by small apses and covered by a half dome.
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Among the ruins the three apses still stand, as do the tower (erected towards the close of the twelfth century), part of the cloisters and the chapter house, and the double-aperture and the tympanum above the main façade. The portal of the church was transferred to the National Archaeological Museum of Spain in Madrid in 1895. A large Romanesque tomb, said to belong to the legendary Mudarra González, was moved to the Cathedral of Burgos, and some frescoes have been transferred to the Metropolitan Museum of Art in New York and others (like Paintings from Arlanza) to the Museu Nacional d'Art de Catalunya in Barcelona.
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The monumental entrance is via the atrium from the west. Thermal baths are located to the northwest; service rooms and probably guest rooms to the north; private apartments and a huge basilica to the east; and rooms of unknown purpose to the south. Somewhat detached, and appearing almost as an afterthought, is the separate area to the south containing the elliptical peristyle, service rooms, and a huge triclinium (formal dining room). Palaestra - Two apses room The overall plan of the villa was dictated by several factors: older constructions on the site, the slight slope on which it was built, and the path of the sun and prevailing winds.
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Plan of Santa Reparata (in red) with further extensions of Florence Cathedral which was constructed on top of it The excavations have cast some light onto the floor plan of the first church, which featured the large mosaic. Also the changes that were made later to the subsequent reconstructions and rebuildings are based on this floor plan. In its original setting, Santa Reparata presented itself as a basilica with three naves, that were separated by fourteen pairs of columns. It had semi-circular apses, which could be dated to the end of the fourth century because of the typical paleo-Christian iconography of basilicas from the age of Constantine.
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The plan is in the shape of a Greek cross, with three identical arms centering apses, under a central cross-vaulted space without any interior partitions. The church sits on a ground-level crypt which was intended to serve as a mausoleum for the Gonzaga family.Franco Borsi. Leon Battista Alberti (New York: Harper & Row, 1977) The complete absence of columns in the façade signified for Rudolf WittkowerRudolf Wittkower, Architectural Principles in the Age of Humanism, (1962) 1965: pp 47-53, p 47 a decisive turning-point in Alberti's interpretation of architecture, moving beyond his statements in De Re Aedificatoria where he considered the column the noblest ornament of building.
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Façade of the guest wing. The building complex, which was more or less complete by 1230, and most of which still stands, comprises the church, built from 1149 onwards, the conventual buildings, the guest wing, dormitories and the lay brothers' area. The groin- vaulted church of three aisles in four bays, with a barrel-vaulted transept and a crossing which was heightened in the Renaissance and covered with a cupola, is largely in accordance with the usual Cistercian building practice. The church also has an unusually large semi-circular apse, between two smaller semi-circular side apses, and also a rectangular side-chapel, built in 1165.
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The present cathedral is the result of a long series of rebuildings and repairs over the centuries. The first cathedral of Terni was built, according to local tradition, over a pagan temple by the first bishop of Terni, Saint Peregrine, in the 2nd century. Tradition states further that Saint Anastasius, bishop of Terni from 606 to 653, built another cathedral on the site in the 7th century. Repair works between 1932 and 1937 (to plans by Marcello Piacentini) uncovered in the present crypt three apses and the remains of a rose window between two mullioned windows, each of two lights, from this earlier structure.
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The new Orthodox monastery was built near the ruins of the former abbey in the late 14th or early 15th century. The present church of the monastery was built around 1370, according to a triconch plan (having apses with semi-domes on three sides of a square chamber), at a time when this architecture was spreading to Moldavia and Wallachia, the other Romanian provinces. The Hodoș-Bodrog Monastery was also under Ottoman domination between 1556 and 1699. The Ottoman rule was briefly interrupted for a short time by the struggle for the independence and unification of the Romanian countries, led by Michael the Brave (1595).
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Berestovo was a suburban residence of Vladimir the Great (who died there in 1015) and some of his descendants, including Vsevolod I and Vladimir II. It was also the site of a monastery, first recorded in 1073. Construction of the present structure is not documented, but most art historians date it to the reign of Vladimir Monomakh (1113–1125). Indeed, it has structural parallels with the churches of Pereiaslav, especially those built during Monomakh's administration of the town at the turn of the 12th century. Monomakh's court church was larger than most cathedrals built in Kyiv in the 12th century and had three naves, three apses, and probably three domes.
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The cathedral was destroyed by fire in 1067, a year after the Norman Conquest. Rebuilding began in 1070 under the first Norman archbishop, Lanfranc (1070–1077). He cleared the ruins and reconstructed the cathedral to a design based closely on that of the Abbey of Saint-Étienne in Caen, where he had previously been abbot, using stone brought from France. The new church, its central axis about 5m south of that of its predecessor, was a cruciform building, with an aisled nave of nine bays, a pair of towers at the west end, aisleless transepts with apsidal chapels, a low crossing tower, and a short quire ending in three apses.
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Facade of the crypt The external appearance of the church is of a Romanesque fortress of stone from Montjuïc (the crypt), topped by a monumental neo-Gothic church accessed by two grand outdoor stairways. The upper church has a central floor with an octagonal dome on eight columns. The dome is crowned with an image of the Sacred Heart; the original work was by Frederic Marès (destroyed in 1936) and replaced in 1950 with another by Josep Miret. The upper church is square with three apses, a large central tower, and four lower towers marking the four corners of the square, and statues of the Twelve Apostles sculpted by Josep Miret.
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In 1832, a firman of the Ottoman sultan allowed the construction of a new monastery church; the church was designed by the noted Bulgarian National Revival architect Kolyu Ficheto and completed in 1834. The cross-shaped church features three apses, a single dome and a covered narthex. The icons and frescoes of the main church were painted by another famous artist, Zahari Zograf, who worked in the monastery between 1849 and 1851, after he finished his decoration of the Troyan Monastery. Among the more notable murals are those of the Last Judgment, the Wheel of Life, the Birth of the Mother of God, the Last Supper.
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East facade. The harmony of vaulting structures in pyramidal fashion is noticeable. Interior view from West Light shines from the apses. The architecture of the church has been criticised in several ways through several epochs. It was especially debated after the second competition for Saint Sava in 1926/27,Tanja Damnjanović 2005: „Fighting“ the St. Sava: Public Reaction to the Competition for the Largest Cathedral in Belgrade. Centropa, 5 (2), 125-135 when no first prize was awarded, and after Patriarch Varnava assigned Bogdan Nestorović (1901–1975) in 1930 as winner of a second prize as principal architect to synthesise his plan with Aleksandar Deroko (1894-1988).
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In its earliest state, the Socola Monastery church, built entirely in stone, was only as long as its present-day nave, featuring a single tower and narrow windows placed high on each side wall. Particularităţi arhitectonice, at the Socola Church official site, p.1; retrieved August 24, 2009 The design closely followed a classical pattern established under the late 14th century rule of Stephen the Great. Particularităţi arhitectonice, at the Socola Church official site, p.3; retrieved August 24, 2009 At some point early in the 17th century, the structure was enriched with two apses and an open porch (in the style of Dragomirna Monastery).
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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.
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But the settlement was not abandoned and a number of signs of settlements after the 3rd Century have been discovered. These include; the large necropolis at Clémenty has tombs from the 5th to 8th Centuries, the stone box graves in the Grand-Rue, near an early medieval building with apses, and the mention of a Civitas Equestrium in the Notitia Gallic around 400 AD. Nyon-Noviodunum, which had already lost much of its prestige and reputation was as a regional capital, now separated from Geneva. Geneva became the center and seat of the diocese which initially fought to administer the territory that had been part of the Colonia.
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The difference is that Sant Climent de Taüll has three naves and three apses, and a bell tower, whereas early Christian architecture has side aisles, transepts, a narthex and an atrium. In addition, the Santa Maria Maggiore, a basilica in Rome, has a clerestory, whereas the Sant Climent de Taüll is the opposite because it has very few windows.Monica Walker, "Early Christian Art" (lecture, University of Waterloo, Waterloo ON, January 3–5, 2012) The mural paintings in Sant Climent de Taüll have elements similar to early Christian paintings. In the central apse of the church, there is a figure of a Pantocrator (Christ in Majesty) surrounded by a mandorla.
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The apses of the church of Santa Maria di Falleri. Falerii (now Fabrica di Roma) was a city in southern Etruria, 50 km (31 mi) northeast of Rome, 34 km (21 mi) from Veii (a major Etruscan city-state near the River Tiber), 16 km (10 mi) from Rome) and about 1.5 km (0.9 mi) west of the ancient Via Flaminia. It was the main city of the Faliscans, a people whose language was Faliscan and was part of the Latino-Faliscan language group. The Ager Faliscus (Faliscan Country), which included the towns of Capena, Nepet, and Sutrium, was close to the Monti Cimini.
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One of two bas-reliefs by Le Bozec on the Sainte-Anne-d'Auray Breton war memorial This memorial takes the form of a mausoleum originally dedicated to the 240,000 Bretons who gave their lives in the 1914-1918 war but subsequently also remembering those lost in the 1939-1945 war and other conflicts. The mausoleum is 52 metres high and the crypt has five apses these representing the five dioceses of Brittany. The names of those honoured are engraved on the mausoleum walls. The mausoleum is located next to the Saint Anne Basilica and has long been a special place of pilgrimage for Bretons.
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It was built in the 11th century but received new decor in the 14th and, in Baroque style, in the 17th centuries. The exterior is in Romanesque style with a large 15th- century rose window and three portals, the middle one having sculpted decoration. The floor plan is T-shaped with two eastbound apses; the aisles are characterized by matronaei and, in the left one, a 15th-century fresco from the Pisan school. The church houses the icon of the Madonna della Fonte, protector of the city. The Benedictine Monastery, founded, according to tradition, in the 6th century, was once one of the most powerful in Apulia.
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The remaining lower portion of the Torre dei Conti The Torre dei Conti is a medieval fortified tower in Rome, Italy, located near the Colosseum and the Roman Forum. The tower was one of the most impressive towers that dominated medieval Rome. It was built in 1238 by Richard Conti, brother of Pope Innocent III as a fortified residence for his family, the Conti di Segni, over one of the exedra of the portico of the four apses of the Imperial fora (The Temple of Peace) near the Forum of Nerva. The tower stood on the border of the territory of the rival family of the Frangipani.
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The plan features a wide chancel and aisled nave, both of which have prominent apses at the geographical north end, a gable-roofed entrance porch leading to a narthex with hipped roofs, a small belfry topped with a stone spirelet, and a vestry. Most of the windows are small lancets, such as the range of six above the entrance porch, but the five around the chancel apse are taller. The interior is simple and open, and reminded architectural historians Ian Nairn and Nikolaus Pevsner of Sir Christopher Wren's ecclesiastical works: they described it as "very intelligent, rational, [...] logical [and lacking] the artificial piety of the 1860s".
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In 1875, Victor Guérin found here 'On the east extends a sort of avenue, formerly bordered by important buildings. One remarks especially the remains of a great edifice measuring forty-five paces in length from west to east by twenty-two in breadth from north to south. It was built of finely cut stones lying one upon the other with cement, and terminated at the east in three apses, the largest of which, that in the centre, is still partly upright. It was once an ancient church divided into three naves by monolithic columns, some undulated fragments of which are lying on the ground .
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Timotesubani church Timotesubani () is a medieval Georgian Orthodox Christian monastic complex located at the eponymous village in the Borjomi Gorge, Georgia's Samtskhe-Javakheti region. The complex consists of a series of structures built between the 11th and 18th centuries, of which the Church of the Dormition is the largest and artistically most exquisite edifice constructed during the "Golden Age" of medieval Georgia under Queen Tamar (r. 1184-1213). A contemporary inscription commemorates the Georgian nobleman Shalva of Akhaltsikhe as a patron of the church. The church is a domed cross- in-square design built of pink stone, with three apses projecting on the east.
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The main façade, connected with arcades to the Archbishops' Palace The church was erected in 1185 by Walter Ophamil (or Walter of the Mill), the Anglo-Norman archbishop of Palermo and King William II's minister, on the area of an earlier Byzantine basilica. By all accounts this earlier church was founded by Pope Gregory I and was later turned into a mosque by the Saracens after their conquest of the city in the 9th century. Ophamil is buried in a sarcophagus in the church's crypt. The medieval edifice had a basilica plan with three apses, of which only some minor architectural elements survive today.
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In July 1891, the plan-selection committee chose Heins & LaFarge's plan as the winning proposal. The design had been the trustees' second choice, but all of the other plans had been rejected; although the trustees liked Potter and Robertson's plan more, it had been disqualified because W. A. Potter was the bishop's half-brother. To Kent's consternation, he was initially not recognized as a co-collaborator, and would not be acknowledged as such until the following year. The group's blueprints called for chapels and end sections with apses; a crossing containing four round arches as well as a dome topped by a massive tower; and transepts with round edges.
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269-270 on the grounds that the monument had been abandoned "for a long time." According to some authors, Roger II further spoliated the structure in the 11th century for the construction of Catania Cathedral, including the grey granite columns that decorate the cathedral's facade and the apses, in which perfectly cut stones can be seen, which may also have been used in the construction of the Castello Ursino in the Swabian period. In the 13th century, according to tradition, the amphitheatre's vomitoria (entranceways) were used by the Angevins to enter the city during the Sicilian Vespers. In the following century, the entrances were walled up and the ruins were incorporated into the Aragonese fortifications (1302).
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Thermae The thermae were typical buildings of Roman civilisation and indispensable part of Roman urban life. Although the city of Salona at the time had multiple baths, best preserved and largest one are those in the eastern part of the city called the Great Thermae, built in the second or beginning of third century A.D. This building is rectangular in shape with three symmetrically arranged apses in the north and one in the west. To the north there was an adjoining elongated spacious room, housing a semicircular pool, the piscina, filled with cold water, the frigidarium. To the left there were two dressing rooms, with benches for sitting and openings in the wall for clothes.
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In Spanish buildings towers are located in different parts of the church - on the sides, over the transept and, in very special cases, over the straight section of the apse, as in the churches of the city of Sahagún in León. This placement was because, being built of brick (a material less consistent than stone), the builders had to locate the towers in the strongest, more resistant section (usually at the apses). A façade made up of two towers was not very common and usually seen only in temples of great importance. Towers served as steeples, especially in the Romanesque styles in Castile and León, they are what are called Turres signorum.
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Nonetheless, the donations which believers of Agiasos offered and the fund-raisers initiated by the Metropolite of Mytilene Callinicus and his emissaries who carried his word to the rural areas and to the opposite coasts of Asia Minor, enabled a third church, which is still standing today, to be built in 1815. Sultan Mahmud II granted permission for the church to be built as requested by the inhabitants of Agiasos, on condition that the size of the building would not exceed that of the previous one. The church was . This three-aisle basilica had three apses and three Lord's Tables; the one on the right was dedicated to Saint Charalampus, and the one on the left to Saint Nicholas.
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The church of the True Cross () is a Roman Catholic church located in the San Marcos district of the city of Segovia, in the autonomous community of Castile and León, in Spain. Formerly known as the Church of Holy Sepulchre, it is located to the north of the city, very close to the convent of San Juan de la Cruz, on the slope that ascends to Zamarramala, a town of which it was, for centuries, a parish church. It consists of a nave with a dodecagonal floor plan that surrounds a small central two-story shrine (edicule), to which apses and the tower were added. It is one of the best-preserved churches of this style in Europe.
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Interior of the basilica The interior has a nave and two aisles, with three apses divided by antique Doric columns. The aisles are surmounted by cross-vaults, while the nave has an 18th-century coffered ceiling, frescoed in the center by Giovanni Battista Parodi, portraying the Miracle of the Chains (1706). In this scene, Pope Alexander heals the neck goiter of Saint Balbina by touching her with the chains that once bound St Peter. Michelangelo's Moses (completed in 1515), while originally intended as part of a massive 47-statue, free-standing funeral monument for Pope Julius II, became the centerpiece of the Pope's funeral monument and tomb in this, the church of della Rovere family.
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The building has an unusual square plan, consisting of two independent churches (one, underground, is the current crypt), two apses on the southern and eastern walls, and a medieval monumental portal with two side lions, facing the road entering in Manfredonia. The interior, with four pillars, dates to the 11th century, and once housed the icon of the Holy Virgin of Siponto (Italian: Maria Santissima di Siponto), dated to the 7th century. The icon is now in the Manfredonia Cathedral, as well as the polychrome wood Byzantine statue of "La Sipontina" (6th century) The underground church dates to the early Middle Ages, and was replaced by the upper one after having been destroyed by an earthquake.
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In the Iconoclastic era, figural mosaics were also condemned as idolatry. The Iconoclastic churches were embellished with plain gold mosaics with only one great cross in the apse like the Hagia Irene in Constantinople (after 740). There were similar crosses in the apses of the Hagia Sophia Church in Thessaloniki and in the Church of the Dormition in Nicaea. The crosses were substituted with the image of the Theotokos in both churches after the victory of the Iconodules (787–797 and in 8th–9th centuries respectively, the Dormition church was totally destroyed in 1922). A similar Theotokos image flanked by two archangels were made for the Hagia Sophia in Constantinople in 867.
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The chapels appear to be the vestiges of the side aisles of a fairly large church, the nave of which has more or less disappeared. This nave is represented by a large arch (rebuilt) and the common vestibule between the two chapels. The antiquity of the apses is indicated by the masonry which is close to the eleventh-century parts of the churches at Lythrangomi and Aphendrika on the Karpass Peninsula. The Aphendrika churches have been dated on good authority to the eleventh century and appear to have suffered a similar fate, being ruined by earthquakes in the thirteenth or fourteenth century A.H.S. Megaw, 'Byzantine Architecture and Decoration in Cyprus: Metropolitan or Provincial?' Dumbarton Oaks Papers 28 (1974), pp.
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This first cathedral could be built where today stands the iglesia de Nuestra Señora de los Huertos (the Poor Clares), located in the Alameda de Sigüenza. The Romanesque temple had a floor plan of three naves and a head with five apses staggered from the sides to the much larger central one. On both sides of the facade there were two defense towers. The second bishop Peter of Leucate (1154 - 1156) - also of French origin and nephew of the previous one - is the one with whom the works of the new cathedral really begin with projects of masters of the Languedoc, which followed the guidelines of the Order of Cluny, already introduced in the country.
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The interior painting was remade between 1975 and 1977, including the votive portrait of the founder Mihai Racovita cehan vv and of his wife, Lady Ana. It is a church with three- apse church plane, with narthex overenlarged, with polygonal apses at the exterior and semicircular at the interior, with verandah on the west, with foiled arch archways on the columns of brick. It is guerdon by two massive derricks, octagonal, situated on the nave and the narthex. In the interior, the arching system is formed by two vaults flattened on the verandah, derricks by octagonal section on the nave and narthex, a semi-cap on the altar, it is holding on the vaults in relief.
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Chapel of the Holy Cross The Chapel of the Holy Cross (French: Chapelle de Sainte-Croix) was built to contain the most valuable relic of the abbey, a piece of the True Cross. It is located a few hundred meters from the abbey church, outside the monastery walls, to provide the monks with greater separation from the crowds of pilgrims. It was dedicated on 20 April and is in the shape of a cross, with a vestibule on the north side, and four semicircular apses with semicircular domes around a square bay with a cloister vault. The vault is crowned by a perfect stone square, topped by triangular pediments and a small tower.
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Tower of the Cathedral The Cathedral of Teruel has its origins in the church of Santa María de Mediavilla, upon which work started in Romanesque style in 1171 and ended with the erection of the Mudéjar tower in 1257. In the second half of the 13th century, the Morisco alarife Juzaff restructured the old Romanesque work and endowed the building with three Mudéjar naves of masonry and brick. The Romanesque apses were replaced in the same Gothic-Mudéjar style as early as the 14th century, as can be seen in the head of the major chapel. The number of supports was reduced by half, leading to greater luminosity and spaciousness in the pointed arch naves.
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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.
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The original entrance above the Church of Saint George, now in the exonarthex, bears the inscription: The church was built on a triconch plan (with three apses), with a chancel, a naos with its tower, and a pronaos. In 1547, the Metropolitan Bishop of Moldavia Grigorie Roșca added the exonarthex to the west end of the church and had the exterior walls painted. His contribution is recorded on the left of the entrance door: The monastery contains tombstones commemorating Saint Daniel the Hermit, Grigorie Roșca, and other patrons of the church and noblemen. Voroneţ was known for its school of calligraphy, where priests, monks and friars learned to read, write and translate religious texts.
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This was given by Isaac Newton through his Inverse Square Law. (Proposition 4), and relationships between centripetal forces varying as the inverse-square of the distance to the center and orbits of conic-section form (Propositions 5–10). Propositions 11–31 establish properties of motion in paths of eccentric conic-section form including ellipses, and their relation with inverse-square central forces directed to a focus, and include Newton's theorem about ovals (lemma 28). Propositions 43–45 are demonstration that in an eccentric orbit under centripetal force where the apse may move, a steady non-moving orientation of the line of apses is an indicator of an inverse- square law of force.
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In 1214 AD the canons of Premonstratensian abbey laid the foundation stone, and they first built the presbytery and two apses. The monastery church was connected to the cloister. The tower of the present church dates back to the first construction phase to 1219, together with the choir and the northern side chapel which probably were rebuilt respectively expanded from 1250 to 1283. The construction works of the church must have been largely completed when in 1250 an indulgence was granted on the occasion of the fair festival year, and again, to the promotion and maintenance of the precious building of St Mary's Church when the construction was completed probably in 1283.
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An exedra adopted by Leo von Klenze for a neoclassical interior space, at the Hermitage in Saint Petersburg, Russia Following precedents from Rome, exedrae continued to be in widespread use architecturally after the fall of Rome. In Byzantine architecture and Romanesque architecture, this familiar feature developed into the apse and is fully treated there. The term exedra is still often used for secondary apses or niches in the more complicated plans of later Byzantine churches; another term is conch, named for the scallop shell form often taken by the half-dome cap. A famous use of the exedra is in Donato Bramante's Cortile del Belvedere extension of the Vatican Palace; that exedra was initially open to the sky.
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Another common Adam feature which is highly defined but in an unusual setting at Balbardie are the recessed apses behind screening columns in the low wings connecting the three bayed pavilions to the corps de logis. This was a feature Adam often used internally but seldom externally. That Adam was not present during the final stages of drawing and completion of the house is evident by the prominence of the chimneys at Kedleston and elsewhere so carefully disguised; the pitch of the roofs suggests a northern Baroque such as the Nymphenburg (where the chimneys are equally visible). However, these features are part of the character of the house and should not be seen as detracting from its architectural importance.
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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.
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The fertility of its territory and its manufacture of black glazed pottery, which was even exported to Etruria, made it prosperous. At the end of the 3rd century BC it appears as a colony, and in the 5th century (AD) it became an episcopal see, which (jointly with Tano since 1818) it still is, though it is now a mere village. The cathedral, of the 12th century, has a carved portal and three apses decorated with small arches and pilasters, and contains a fine pulpit and episcopal throne in marble mosaic. Near it are two grottos, which have been used for Christian worship and contain frescoes of the 10th and 11th centuries.
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The two smaller compartments and apses at the sides of the bema were sacristies, the diaconicon and prothesis. The ambo and bema were connected by the solea, a raised walkway enclosed by a railing or low wall. The continuous influence from the East is strangely shown in the fashion of decorating external brick walls of churches built about the 12th century, in which bricks roughly carved into form are set up so as to make bands of ornamentation which it is quite clear are imitated from Cufic writing. This fashion was associated with the disposition of the exterior brick and stone work generally into many varieties of pattern, zig-zags, key-patterns etc.
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The first cathedral on the site was initially dedicated to Saint Nicholas of Bari, and dated at the latest from the Norman occupation of the last decades of the 11th century. In the 14th century, it was replaced with a Romanesque structure with a basilica layout of a central nave and two aisles separated by columns, all three terminating in semicircular apses. The dedication was changed at this time to the Assumption of the Virgin Mary. Three chapels were later added: the Chapel of the Most Holy Sacrament (Santissimo Sacramento) in 1538 and the Chapel of Mary the Consoler (Santa Maria Consolatrice) in 1643, both founded by confraternities; and the Chapel of the Most Holy Crucifix (Santissimo Crocifisso).
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Schroeter-Huhn proposal, if executed, would have been the largest Neo-Byzantine structure of its time. The client - viceroy of the Caucasus Mikhail Nikolayevich - dismissed the Schroeter-Huhn proposal as too expensive; he supported the Grimm-Gedike draft but instructed the architects to decrease its size to cut costs. The building that was completed in 1871-1897 followed the original Russian scheme of a single dome with four symmetrical apses created by Roman Kuzmin in 1861, yet Grimm changed his proportions to create a tall, vertical silhouette. Grimm's draft, publicised in the 1860s, paved the road to numerous variations of the same single-dome layout and was perfected by Vasily Kosyakov in the 1880s.
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Towels and other necessary items will be kept here also. Only bishops or priests may sit in the sanctuary; however, deacons and altar servers may sit in the diaconicon when they are not needed for the service. Because the diaconicon is located behind the Iconostasis it is considered to be a holy place, and only those who have a specific liturgical duty to perform should go in, and any regulations pertaining to entry into the sanctuary apply here as well. During the reign of Justin II (565–574), owing to a change in the liturgy, the Diaconicon and Prothesis came to be located in separate apses at the east end of the Sanctuary.
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The church was built between 1919 and 1924 using funds donated from many different countries. The coat-of-arms of twelve of the countries from which donations originated are incorporated into the ceiling, each in a separate, small dome, and also into the interior mosaics. The countries honored in this way are, east to west (altar to entrance) and beginning with the northern apse: Argentina, Brazil, Chile and Mexico; in the middle of the church are commemorated: Italy, France, Spain and the United Kingdom, and to the right: Belgium, Canada, Germany, and the United States of America. The mosaics in the apses were donated by Ireland, Hungary, and Poland (by the sculpturist Tadeusz Adam Zieliński).
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The architecture of the Saint George Pillars Monastery is very characteristic representing unique synthesis of two medieval construction concepts, Byzantine in the East and Roman in the West. Monastery is a building with a set of architectural and construction innovation in that period, among which there are two remarkable towers, lateral vestibules, cupola with elliptic basis, irregular shape of altar area, as well as specific arrangement of the central dome space of the church. Single-aisle temple with the altar consisting of three apses, naos and narthex, in its external appearance reflects the spirit of Roman construction. The combination of Byzantine spatial arrangement and Roman architecture resulted in original symbiosis that has been the ground for special architectural style.
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In its center is the tomb of St. Giles, a medieval place of veneration until in the 16th century, his relics were moved to the Basilica of Saint Sernin at Toulouse. The upper church, with a nave and two apses, mostly belongs to the 17th-century reconstruction, aside from the massive pillars in Corinthian style. Behind the apse are the remains of the ancient choir, which once were part of the originally longer church (98 meters instead of the current 50). Inside the northern wall of the ancient choir is a spiral staircase (now free standing) known as "Screw of St. Gilles", dating to the 12th century, made of cantilevered stone steps.
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The term was invented by 19th-century art historians, especially for Romanesque architecture, which retained many basic features of Roman architectural style – most notably round-headed arches, but also barrel vaults, apses, and acanthus-leaf decoration – but had also developed many very different characteristics. In Southern France, Spain and Italy there was an architectural continuity with the Late Antique, but the Romanesque style was the first style to spread across the whole of Catholic Europe, from Sicily to Scandinavia. Romanesque art was also greatly influenced by Byzantine art, especially in painting, and by the anti-classical energy of the decoration of the Insular art of the British Isles. From these elements was forged a highly innovative and coherent style.
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Expansion of the Romanesque style coincided with the reign of D.Afonso Henriques (1139–1185), a monarch with Burgundian background being the son of Count Henry and great grandson of Robert II, King of France. During his reign Lisbon, Coimbra, Porto and Viseu Cathedrals were built and also the Augustinian Monastery of Santa Cruz, projected to be a royal pantheon. The construction began in 1131 and by 1150 the nave and its apses were already finished. Its structural shape and decorative features were a novelty in Portugal, showing that its architect was either probably French or came in contact with French Romanesque architecture from Burgundy like Tournus, Cluny, Paray-le-Monial or Romainmôtier.
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The Walpurgiskirche is located behind these three buildings. The main civic church in Alsfeld, dedicated to St. Walpurga, has a complicated building history. This is reflected both in the interior design and in the outer construction. Excavations carried out in 1971/1972, revealed the remains of the oldest section, a three apses Roman Church dating back to the 8th/9th century. In the late 13th century an early Gothic Basilica was built, with a low, elongated choir and west tower. In 1393, the choir was reconstructed, made longer and substantially higher. Plans to reconstruct the long house had to be cancelled as the church tower collapsed in 1394 and the funds were needed for reconstruction. In 1492, the existing basilica was further developed.
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According to critics, originally the church must have had three naves ending with three apses, separated by rows of four columns on each side. However, due to renovation works (probably to increase the church's capacity), between the sixteenth and seventeenth centuries, they built the apse, the small chapel and the last two spans toward the apse, to which the columns correspond, different from the others both in the shaft and in the capitals (Tuscan order). According to historians, the paintings inside the church date back to this period as well. In fact, inside the church three paintings can be admired: one depicts the Baptism of Jesus, another one depicts St. Anthony the Abbot and the third one depicts the Crucifixion.
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And because the distances between the angles of the octagon were even farther apart at , the average span of the dome would be marginally wider than that of the Pantheon. At 144 braccia, the height of the dome would evoke the holy number of the Heavenly Jerusalem mentioned in the Book of Revelation. By 1413, with the exception of one of the three apses, the east end of the church had been completed up to the windowed octagonal drum but the problem of building the huge dome did not yet have a solution. In 1417, with the drum completed, the master builder in charge of the project retired and a competition for plans to build the dome was begun in August 1418.
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The Serbs and Bulgarians adopt the Old Slavonic liturgy instead of the Greek.De Administrando ImperioThe wars of the Balkan Peninsula: their medieval origins Notable early church buildings include the monastery of Archangel Michael in Prevlaka (Ilovica), built in the beginning of the 9th century, on the location of older churches of three-nave structure with three apses to the East, dating from the 3rd and 6th centuries, Bogorodica Hvostanska (6th century) and Church of Saints Peter and Paul. A Seal of Strojimir (died between 880–896), the brother of Mutimir, was bought by the Serbian state in an auction in Germany. The seal has a Patriarchal cross in the center and Greek inscriptions that say: "Strojimir" (CTPOHMIP) and "God, Help Serbia".
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Eventually only the crossing with the crossing tower and the quire with the apses were left standing, and even those were threatening to fall down. As to the question of whether the rest of the building should be torn down or renovated, it was decided in 1894 that the latter was preferable. A special service in this endeavour can be ascribed to the then Evangelical pastor and later superintendent Karl Georg Merz. Further extensive restoration work followed from 1962 to 1970 under Pastor Erich Renk’s oversight. As early as 1884, north of the provostry church, Saint Peter’s and Saint Paul’s Catholic Parish Church was built, and thus the Evangelical parish could once again take over the provostry church as its own parish church.
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Scale Model of Herrera's original design. Present church outlined in black; hatchmarks delineate entire plan, and demonstrate the planned three naves and apses Gate of the cathedral, sold in 1956, currently exhibited in New York's Metropolitan Museum of Art Transept end with the triumphal arch theme The unfinished cathedral and the Plaza de la Universidad, near University of Valladolid The structure has its origins in a late Gothic collegiate church, which began in the late 15th century. Before temporarily becoming capital of a united Spain, Valladolid was not a bishopric, and thus it lacked a cathedral. However, with the newly established episcopal see in the 16th century, the Town Council decided to build a larger, modern cathedral in Renaissance-style, befitting the city's new status.
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In about 330, Saint Saintin (or Sainctinus) evangelised the city of Verdun, became its first bishop and founded a church dedicated to Saints Peter and Paul. In 457 Saint Pulchronius (or Pulchrone), a later bishop, had a cathedral built inside the walls of a ruined Roman building, on the present site. Several buildings were erected and destroyed on this site, until in 990 Bishop Heimon ordered the construction of a new cathedral on the Romano-Rhenish plan: a nave, two transepts, two opposing apses, each one flanked by two belltowers. In the 12th century, the architect Garin built the east choir, the two portals of Saint John and of the Lion, and the crypts. The building was consecrated by Pope Eugene III in 1147.
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The entrance has a portico with 28 antique columns whose pointed arches, with lava rock intarsia, show influence of Arab art, and contains a series of ancient Roman sarcophagi. The interior has a nave and two aisles, divided by pilasters in which the original columns are embedded, and three apses. Artworks include two pulpits with mosaic decorations, paintings by Francesco Solimena, a 14th-century Gothic statue of Madonna with Child and the sepulchres of the Neapolitan queen Margaret of Durazzo, of Roger Borsa and of archbishop Bartolomeo d'Arpano, and the tomb of Pope Gregory VII. The Crypt The crypt, believed to house the remains of Matthew the Apostle, is a groin vaulted hall with a basilica-like plan divided by columns.
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Sisters at a statio in the apses of Santa Catalina Monastery in Arequipa A statio (Latin for "position" or "location") is the place where, in the Roman Rite, a devotion to the stations of the Cross is celebrated. On specific station days, on which in the Late Roman Catholic liturgy of the Late Antiquity a devotion to the stations of the Cross took place led by the bishop or his representative, the bishop, the clergy and the faithful gathered in an assembly church (ecclesia collecta) for a short service of worship (collecta). From there, they went on a procession to the station church. Sometimes the procession would stop at churches or shrines along the way to hold a short devotion to the stations of the Cross.
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View of the central Gallery showing the apse derived from the ancient Roman Temple of Venus and Roma The tripartite series of rooms overlooking the garden at the rear of the Villa are collectively known as the ‘Gallery Rooms’. The distinctive apses here are derived from the Temple of Venus and Roma - the same source that Inigo Jones utilised when he refaced the west front of old St. Paul's Cathedral before its destruction in 1666. In the four niches were placed classical mythological statues of a Muse, Mercury, Apollo and Venus. This Gallery was designed as a statue Gallery and if in Italy this series of rooms would have been a loggia (a room open to the elements on one or more sides).
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Predigerkirche as seen from ETH Zurich, the Zentralbibliothek building in the foreground as seen from Zähringerplatz According to the building-historical research of the years 1990/96, the first church of the Dominicans was built in 1231 as a distinct Romanesque Basilica including a transept and two small apses in the spiral arms of the transept. The closed choir was fairly spacious, with an area of 10 x , being a reminiscent of the still existing choir of the former Fraumünster basilica, that only a few years before was built. Archaeological finds show that the church had been planned to be originally shorter in the length than it is today. During the construction period, the building was extended on the today's west facade.
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Measuring forty-four meters in length by twenty-three meters in width, the church does not have a west narthex like the Church of Shenute, but all other elements are identical. The nave has small side aisles connected on the west, and there are upper galleries, a triconch apses and a large rectangular room on the south side of the edifice. There are elements within this church, however, that distinguish it from the Church of St. Shenute in the White Monastery. In the White Monastery, considerable building material was robbed from edifices dating to the pharaonic or Roman period, while in the Red Monastery church of St. Pshoi, the portals and columns (bases, shafts and capitals) were made for this building.
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Gibere deliberately placed the belltower unusually close to the main dome, so that at most viewing angles they blended in a single vertical shape. This layout was favored by the clergy but bitterly criticized by contemporary architects like Antony Tomishko (architect of Kresty Prison and its Byzantine church of Alexander Nevsky). It was reproduced in Tashkent (1867–1887), Łódź (1881–1884), Valaam Monastery (1887–1896), Kharkov (1888–1901), Saratov (1899) and other towns and monasteries. Most of the Byzantine buildings, however, followed the middle road: the belltower was also set above the portal, but it was relatively low (on par with side domes or apses or even lower), and spaced aside from the main dome (Riga cathedral, (1876–1884), Novocherkassk cathedral (1891–1904) and others).
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Initially, it was conceived as a simple church. In the period between 1441 and 1473 the construction was directed by Giorgio, who was invited to come from Venice as the investors were not satisfied with the beginning of the work. His first contract in 1441 was concluded for a period of 6 years to build just a simple church, but another contract of 10 years followed the first one in 1446. The investors considered that too little for the money spent, so Giorgio altered the plan: he enlarged the cathedral with a side nave and apses, so that the ground plan of the cathedral was in the shape of a cross, and prepared it for the dome, built the presbytery, sanctuary and his masterpiece, the baptistery.
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Perhaps in this period, when Roman imperial authority in Italy had diminished, the mausoleum to the south of the basilica was transformed into a chapel dedicated to St Genesius the martyr. By the sixth century, on the east wall, opposite the entrance, two portals were opened giving access to two local apses. Plan of the church In the tenth century, probably in the Ottonian era, reconstruction took place possibly involving the participation of a Byzantine workforce who had retained knowledge of the classical techniques of construction and decoration. Little is known regarding these restorations, but it is assumed that the cupola (dome) had been reconstructed using pipes made of terracotta, making it lighter than the previous one, perhaps already damaged to the extent of justifying a reconstruction.
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The original nucleus of the complex was established in 769, when Duke Tassilo III of Bavaria gave to Abbot Atto of Scharnitz extended estates lands in the Puster Valley stretching from the Gsieser Bach at current Welsberg eastwards down the Drava to Anras, called India, provided that a Benedictine convent would be founded here to convert the pagan Slavs who had settled in the principality of Carantania. When Atto became Bishop of Freising in 783, he added Innichen to his episcopal territories. Of the original abbey construction, however, no certain traces have been found. When the monastery was turned into a college of canons, the church was entirely rebuilt from about 1140; of this edifice today the external walls, the piers, the apses and the crypt remain.
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The middle temple dates to about 3000 BC, and is unique in that, unlike the rest of the Maltese temples, it has three pairs of apses instead of the usual two. The east temple is dated at around 3100 BC. The remains of another temple, smaller, and older, having been dated to 3250 BC, are visible further towards the east. Of particular interest at the temple site is the rich and intricate stonework, which includes depictions of domestic animals carved in relief, altars, and screens decorated with spiral designs and other patterns. Demonstrative of the skill of the builders is a chamber set into the thickness of the wall between the South and Central temples and containing a relief showing a bull and a sow.
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One of Vella's early works is Villa Borghese sotto Neve, an oil painting which won him a prize while in Rome. Notable religious works by Vella include the Sacred Heart of Jesus at the Discalced Carmelite church in Birkirkara, some of the frescoes at the St. Publius Parish Church in Floriana and decorations at the vault and apses of the Cathedral of the Assumption, Gozo. Other churches which contain works by Vella include the churches of St Augustine and St Francis in Valletta, the parish churches of Marsa, Tarxien, Għaxaq, Safi, Gżira, Naxxar, Birkirkara, Lija, Mellieħa, Żurrieq, Qala, Nadur, Xagħra, Sannat, Munxar and San Lawrenz, and various other churches and chapels around Malta and Gozo. Some of his works can also be found at St Aloysius' College in Birkirkara and the Wignacourt Museum in Rabat.
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That original basilica was likely built between 330–333, being already mentioned in 333, and was dedicated on 31 May 339. It was destroyed by fire during the Samaritan revolts of the sixth century, possibly in 529, and a new basilica was built a number of years later by Byzantine Emperor Justinian (r. 527–565), who added a porch or narthex, and replaced the octagonal sanctuary with a cruciform transept complete with three apses, but largely preserved the original character of the building, with an atrium and a basilica consisting of a nave with four side aisles. The Church of the Nativity, while remaining basically unchanged since the Justinianic reconstruction, has seen numerous repairs and additions, especially from the Crusader period, such as two bell towers (now gone), wall mosaics and paintings (partially preserved).
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Despite its prominence and frequent mention in Byzantine texts, no full description of it is ever given. From the fragmented literary evidence, the hall appears to have been of octagonal shape crowned by a dome, paralleling other 6th-century buildings like the Church of Sergius and Bacchus in Constantinople and the Basilica of San Vitale in Ravenna. The roof was supported by 8 arches, which formed kamarai (apses or niches), and pierced by 16 windows. The shape and general features of the Chrysotriklinos were later consciously imitated by Charlemagne in the construction of the Palatine Chapel of the Palace of Aachen, although San Vitale, being located within his realm, provided the immediate architectural model.Fichtenau (1978), p. 68 Interior of the octagonal Palatine Chapel in Aachen, which was modelled on the Chrysotriklinos.
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At Santa Maria degli Angeli, Michelangelo achieved a sequence of shaped architectural spaces, developed from a Greek cross, with a dominant transept, with cubical chapels at each end, and the effect of a transverse nave. There is no true facade; the simple entrance is set within one of the coved apses of a main space of the thermae. The vestibule with canted corners and identical side chapels—one chapel has the tomb of Salvator Rosa, the other of Carlo Maratta—leads to a second vestibule, repeated on the far side of the transept, dominated by the over lifesize Saint Bruno of Cologne by Jean Antoine Houdon (1766). Of the Saint Bruno, Pope Clement XIV said that he would speak, were it not for the vow of silence of the order he founded.
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One might call the First Romanesque style the style of this Italian architectural reconquest. The large promoter and sponsor of this art in Catalonia was Oliva, monk and abbot of the monastery of Ripoll who, in 1032, ordered the extension of the body of this building with a façade with two towers, plus a transept which included seven apses, all decorated on the outside with the Lombardic ornamentation of blind arches and vertical strips. Catalan architect Josep Puig i Cadafalch suggested that what was formerly considered the late form of pre-Romanesque architecture in Catalonia bore features of Romanesque and thus classified it as First Romanesque (primer romànic). The First Romanesque churches of the Vall de Boí were declared a World Heritage Site by UNESCO in November 2000.
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In Aix-en-Provence, Riez and Fréjus, three octagonal baptistries, each covered with a cupola on pillars, are testimony to the influence of oriental architecture (the baptistry of Riez, in the Alpes-de-Haute-Provence, recalls that of St. George, Ezra', Syria). Very different from these Provençal baptistries, except for the quatrefoil one of Venasque, that of St. Jean at Poitiers (6th century) has the form of a rectangle flanked by three apses. The original building has probably undergone a number of alterations but preserves in its decoration (marble capitals) a Merovingian character. Among the very many crypts, numerous due to the importance of the cult of saints at the time, only those of St. Seurin, Bordeaux, St. Laurent, Grenoble, and the abbey of Jouarre (7th century) survive.
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The current building was dedicated by the patriarch of Aquileia and acted as the private chapel of Verona's ruling Scaligeri family, located beside their family cemetery (the site of the 13th-century Scaliger Tombs). The church has a small tuff bell tower (with three baroque bells) in a purely Romanesque style, with mullioned windows and a brick-covered spire. Around 1630 the three-nave interior was altered to the Baroque style, though a restoration at the end of the 19th century restored the original Romanesque interior, divided by columns with "sesto rialzato" arches, and with an "incavallature" roof supported by transverse arches, as at the basilica of San Zeno. There are two lateral apses in tuff and cotto, and a central apse with two early 14th-century frescoes.
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The eccentric Keplerian ellipse is another and separate approximation for the Moon's orbit, different from the approximation represented by the (central) variational ellipse. The Moon's line of apses, i.e. the long axis of the Moon's orbit when approximated as an eccentric ellipse, rotates once in about nine years, so that it can be oriented at any angle whatever relative to the direction of the Sun at any season. (The angular difference between these two directions used to be referred to, in much older literature, as the "annual argument of the Moon's apogee".) Twice in every period of just over a year, the direction of the Sun coincides with the direction of the long axis of the eccentric elliptical approximation of the Moon's orbit (as projected on to the ecliptic).
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The cathedral is named after the 6th-century Hagia Sophia (Holy Wisdom) cathedral in Constantinople (present-day Istanbul), which was dedicated to the Holy Wisdom rather than to a specific saint named Sophia. The first foundations were laid in 1037 or 1011,Facts.kieve.ua but the cathedral took two decades to complete. According to Dr. Nadia Nikitenko, a historian who has studied the cathedral for 30 years, the cathedral was founded in 1011, under the reign of Yaroslav's father, Grand Prince of Kyivan Rus, Vladimir the Great. This has been accepted by both UNESCO and Ukraine, which officially celebrated the 1000th anniversary of the cathedral during 2011.Booklet "The Millenary of St. Sophia of Kyiv" by Nadia Nikitenko, Kyiv 2011) The structure has 5 naves, 5 apses, and (quite surprisingly for Byzantine architecture) 13 cupolas.
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Saint-Julien-le-Pauvre was designed in the conservative tradition prevalent during the rule of King Louis the Younger. The only one of the city's twelfth-century parish churches to have endured, it was never completed in its original design: the choir area was intended to be three stories high, and the clerestory is an incomplete triforium; the nave was supposed to be covered by sexpartite vaults, which were replaced by a wooden roof and, after the 17th century, by a new system of vaults; and, of a tower meant to stand on the church's southern side, only the staircase was begun. The eastern apses use material from an older building. The building has piers replicating those found in Notre Dame, and the chapiters are carved with images of leaves and harpies.
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A similar arrangement is found in Hereford Cathedral, and exists in Winchester, Salisbury, Durham, Albans, Exeter, Ely, Wells and Peterborough Cathedral, except that in those cases (except Wells) the eastern chapels are square; in Wells Cathedral the most eastern chapel (the Lady Chapel) has a polygonal termination; in Durham Cathedral, the chapels are all in one line, constituting the chapel of the altars, which was probably borrowed from the eastern end of Fountains Abbey. In some of the above designs, original design has been transformed in rebuilding; thus in Albans, Durham, York and Exeter cathedrals, there was no ambulatory but three parallel apses, in some cases rectangular externally. In Southwell, Rochester and Ely, there was no processional path or ambulatory round the end; in Carlisle no eastern chapels; and in Oxford only one central apse.
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The cathedral The old fort Trani has lost its old city walls and bastions, but the 13th-century fort has been extensively restored as a museum and performance venue and is open to the public. Some of the streets in and around the Ghetto area remain much as they were in the medieval period, and many of the houses display more or less of Norman decoration. The main church is the Trani Cathedral, dedicated to Saint Nicholas the Pilgrim, a Greek who died in Trani in 1094 while on his way on pilgrimage to Rome, and some years later canonized by Urban II. It lies on a raised open site near the sea, and was consecrated, before its completion, in 1143. It is a basilica with three apses, built in the characteristic white local limestone.
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The church is vaulted with five pairs of strong semi-circular buttresses and by the tufa which was found in the ground during an excavations. While the first pair of the buttresses lean diagonally against the edges of the westwork, the second pair reinforces the portion of the wall that separates the westwork from the nave, then the next two pairs support the walls of the nave, and the last pair support the side apses. The vaults support a gallery on the western side near the entrance, accessible by a staircase from the north and entering to a platform on the second story. The gallery, believed to be reserved for the Count when he participated in the services, looked down upon the nave through three round openings, the central one being higher than the others.
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The interior of the church Christ in the dome mosaic Arabic Inscription in Martorana Church, Palermo, Italy The original church was built in the form of a compact cross-in-square ("Greek cross plan"), a common variation on the standard middle Byzantine church type. The three apses in the east adjoin directly on the naos, instead of being separated by an additional bay, as was usual in contemporary Byzantine architecture in the Balkans and Asia Minor.Kitzinger, Mosaics, 29-30. In the first century of its existence the church was expanded in three distinct phases; first through the addition of a narthex to house the tombs of George of Antioch and his wife; next through the addition of a forehall; and finally through the construction of a centrally- aligned campanile at the west.
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Byzantine churches, although centrally planned around a domed space, generally maintained a definite axis towards the apsidal chancel which generally extended further than the other apses. This projection allowed for the erection of an iconostasis, a screen on which icons are hung and which conceals the altar from the worshippers except at those points in the liturgy when its doors are opened. Dongola, ninth century The architecture of Constantinople (Istanbul) in the 6th century produced churches that effectively combined centralized and basilica plans, having semi-domes forming the axis, and arcaded galleries on either side. The church of Hagia Sophia (now a museum) was the most significant example and had an enormous influence on both later Christian and Islamic architecture, such as the Dome of the Rock in Jerusalem and the Umayyad Great Mosque in Damascus.
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A paraphrased 1771 description of the church by Giovanni Battista Vassalli notes: > (The church) situated not far from (town), circa 20 footsteps of Italian > miles in a public road...(The church) is formed to two orders of > architecture: the first Doric ... the top Ionic ... Everything is finely ... > proportioned in its architecture...the interior ... is built in a square > shape, held up by the four pilasters .. which create openings for the main > apse and two lateral chapels; each pilaster has two free standing columns, > and all is finely squared with stucco. A further set of corinthian pilasters support four arches that frame the apses of each chapel, well decorated with stucco. The interior is lit by large windows in the chapel and entrance and eight small circular windows in the cupola. The interior is painted in plain colors.
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The Mausoleum of Galla Placidia in Ravenna By the 5th century, structures with small-scale domed cross plans existed across the Christian world. Examples include the Mausoleum of Galla Placidia, the martyrium attached to the Basilica of San Simpliciano, and churches in Macedonia and on the coast of Asia Minor. In Italy, the Baptistery of San Giovanni in Naples and the Church of Santa Maria della Croce in Casarano have surviving early Christian domes. In Tolentino, the mausoleum of Catervus was modeled on the Pantheon, but at one-quarter scale and with three protruding apses, around 390-410. The Baptistery of Neon in Ravenna was completed in the middle of the 5th century and there were 5th century domes in the baptisteries at Padula and Novara. Small brick domes are also found in towers of Constantinople's early 5th century land walls.
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The appearance of lateral apses along the flanks of the Ravanica church clearly suggests the growing importance of the Athonite monastic formula, juxtaposed here with the five-domed church scheme. The most perplexing aspect of this architecture however are its sculptural laments, whose sheer quantity, exuberance, and variety of motifs have defied explanations. Evident on a large number of buildings, from Lazarica in Kruševac to Naupara, Rudenica, Veluce, Ljubostinja, and Milentija, the style of decoration displays affinities with Armenia and Georgia, the world of Islam, and even Venice and the West. Its persistence into the fifteenth century, on church facades such as that of Kalenić Monastery (built 1413–1417), reveals the vitality of this new medium, which in its later stages began to incorporate human and animal forms, often related to mythological themes presumably drawn from manuscript illuminations.
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The construction began with the head, the foundations of the walls and the towers. During the years of the mandate of the next bishop Cerebruno (1156 - 1167), a native of Poitiers, a great impulse was given to the works, closing the naves of the transept. With the fourth bishop Joscelmo (1168 - 1177), upon arrival of the construction at crossing and its transverse nave, on June 19 of 1169 was open to worship; this is attested by a Chi Rho in the tympanum of the door of the tower of the Rooster, which indicates that the works would have reached this part of the transept. The five altars of the apses were already consecrated at the end of the 12th century, to continue with the norm of the time when at least five canonges could say mass individually.Herrera Casado 1997: p.
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Kazan Kreml' in 1630 Kazan Kreml' in 1839 Saviour-Transfiguration monastery in 19th century Kazan Kreml' in 1911 Kremlin from bird's view Main entrance with Spasskaya Tower in early 20th century The Kazan Kremlin includes many old buildings, the oldest of which is the Annunciation Cathedral (1554—62), the only 16th-century Russian church to have six piers and five apses. Like many of Kazan's buildings of the period, it is constructed of local pale sandstone rather than of brick. The renowned Pskov architects Postnik Yakovlev and Ivan Shirjay (called Barma) were invited by the Tzar to rebuild the Kazan Kremlin in stone. The cathedral bell tower was erected in five tiers at the urging of Ivan the Terrible and was scored to resemble the Ivan the Great Belltower in Moscow, but was pulled down by the Soviets in 1930.
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It had a strictly centrally planned design with four apses which create a very dense, spacious and yet intimate interior. As Branko Pešić, who continued the building after the long building ban, described it in 1988: The adoption of the "Haghia Sophia" was led by impulses from western academic circles and literature, above all French and German, which acknowledged the Byzantine tradition in the rationality of construction from which followed spatial clarity, shown in a logical visually apparent image of the constructive system in the building structure. Since the beginning of the development of the scholarly discipline of architectural history in Serbia, St. Sophia has been referred to as a superior realization, equivalently in the importance of its constructive solution, structure and spatial effects.Aleksandar Ignjatovic 2016: U srpsko-vizantijskom kaleidoskopu: arhitektura, nacionalizam i imperijalna imaginacija 1878-1941.
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Unidentified figures of white-robed martyrs decorate the lunettes of the east and west transepts. The interior of the dome at the centre is decorated as a starry sky, with a regular mosaic of golden stars on a dark blue background, with a gold cross represented at the apex of the dome and the four symbols of the Evangelists (or the "living creatures" of Revelation 4:7) at the corner pendentives. The four lunettes below the dome, between the arches springing from the four central piers and the arches of the pendentives above them, have mosaics each depicting two Apostles with their right arms raised in acclamation likely directed at the male saint in the southern transept's mosaic. The sky with stars or clouds was often depicted as decoration of domes, apses, and ceilings of churches.
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Museum of History of the Jews of Georgia, building At first, the Museum was located in the building of the Jewish cultural centre (presently at 10, Abesadze St) and from 1940, in the so-called Dome-shaped Synagogue (presently at 3, Anton Cathalicos St). Now, the Museum resides in Rochester, Minnesota known as Robert Navarro's (Herzing University) residence. The Museum building was constructed in the early 20th century; it is built of brick; polygonal from the outside and circular inside (with 3 apses), with two (big and little) domes mounted on 8 coupled reinforced-concrete pillars located along the perimeter; as a result of reconstruction the building has become three-storied, approximately 20 metres long and wide and 21 metres high. The Museum was closed in 1951, during a period of antisemitic actions in the USSR.
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The Throne of the Virgin is embossed silver, work of the goldsmith Ramon Sunyer, with two reliefs made by Alfons Serrahima and designed by Joaquim Ros i Bofarull that represent the Nativity and the Visitation, and an image of St. Michael by Josep Granyer. Here is a 12th century statue of the Virgin on which are placed some angels that hold the crown, the scepter and the lily of the Virgin, the work of Martí Llauradó, covered by a baldachin. The Sala del Cambril is a circular chapel with three apses, built between 1876 and 1884 by Villar i Carmona with the collaboration of his assistant, a young Antoni Gaudí. The vault is decorated by Joan Llimona (The Virgin Welcomes the Romeros) and the figures of angels and the sculpture of St. George are of Agapit Vallmitjana.
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Some column capitals were of marble from Greece identical to those in Basilica of San Vitale and must have been imported from the Byzantine centre along with the columns and some of the opus sectile. There are conch mosaics in the basilica's three apses and the fine opus sectile on the central apse wall is "exceptionally well preserved". The 4th century basilica at Serdica was rebuilt in the 5th century and ultimately replaced by a new basilica begun in the late 6th century and on which construction phases continued into the 8th century. This basilica was the cathedral of Serdica and was one of three basilicas known to lie outside the walls; three more churches were within the walled city, of which the Church of Saint George was a former Roman bath built in the 4th century, and another was a former Mithraeum.
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In any case, although it is documented that Pope Nicholas II, who was present in his Florentine diocese from November 1059, consecrated the churches that were reconstructed to Santa Felicita and from San Lorenzo, we have no document relating to the consecration of Santa Reparata by the pope or bishop. But as far as the baptistery is concerned, there is an inscription on a panel from the 17th or 18th century, on which it is reported to be consecrated to San Giovanni on 6 November 1055. However, if the additions were made before the council, it seems likely that Nicholas II had consecrated Santa Reparata when he was still bishop. The apses are from the romanesque age because the way they are constructed in respect to the foundations of the two towers, especially the southern one, makes it likely that these were brought down at this occasion.
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View of the church from a side View of the church, showing the three apses Chroniclers Leontios Machairas and Diomede Strambaldi wrote that the church had been built by the Lakhas brothers (also known as Lakhanopoulos) in around 1360. These brothers were recorded as two "East Syrian", aka Nestorian merchants, who were known for their immense wealth. The chroniclers pointed out to the architecture and decorations of the building, reminiscent of the Southern French and Italian Gothic churches of the time, hypothesizing that it may have been influenced by King Peter I's visit to Avignon in 1363. This version of the church's history represents the virtual consensus of scholars of medieval Famagusta, though scholar Michele Bacci has postulated a need to revise "name-identification and date of this church" as its architecture is reminiscent of the 12th–13th century Crusader architecture in Palestine and Syria.
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The church of Sant Pere in Àger, founded by Arnau Mir of Tost, who conquered the valley of Àger from the Saracens, was the see of a regular canonry exempt from ordinary jurisdictions (in other words, it did not depend on the Bishop of Urgell), with enormous estates from the donations by the founder and his descendants. In keeping with its importance, the church, now in ruins, was very monumental. Of the paintings that once decorated it, only scattered fragments remain of the main and southern apses, of which the most outstanding and complete is that of the two apostles, Thaddeus and James, from the first arcosolium in the central apse. The two monumental apostles of Àger are presented in a face-on, hieratic position, with scrolls or volumes in their hands, which they are holding in alternating positions, at the same time as the colour of their nimbuses and their clothing also differs.
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Lord Burlington was not just restricted to the influence of Andrea Palladio as his library list at Chiswick indicates. He owned books by influential Italian Renaissance architects such as Sebastiano Serlio and Leon Battista Alberti and his library contained books by French architects, sculptors, illustrators and architectural theorists such as Jean Cotelle, Philibert de l'Orme, Abraham Bosse, Jean Bullant, Salomon de Caus, Roland Fréart de Chambray, Hugues Sambin, Antoine Desgodetz, and John James's translation of Claude Perrault's Treatise of the Five Orders. Whether Palladio's work inspired Chiswick or not, the Renaissance architect exerted an important influence on Lord Burlington through his plans and reconstructions of lost Roman buildings; many of these unpublished and little known, were purchased by Burlington on his second Grand Tour and housed in cabinets and tables the Blue Velvet Room, which served as his study. These reconstructions were the source for many of the varied geometric shapes within Burlington's Villa, including the use of the octagon, circle and rectangle (with apses).
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Originally commissioned by the 18th dynasty Pharaoh Tuthmosis III, it was completed by his grandson, Tuthmosis IV. At 32.18 m (45.70 m including the base) it is the tallest obelisk in Rome and the largest standing ancient Egyptian obelisk in the world, weighing over 230 tons. Following the annexation of Egypt to the Empire, it was taken from the temple of Amun in Karnak and brought to Alexandria with another obelisk by Constantius II. From there it was brought on its own to Rome in 357 to decorate the spina of the Circus Maximus. The dedication on the base, however, gives the glory to Constantine I, not to his son who brought it to Rome. The whole of the front of the palace was taken up with the Aula Concilii ("Hall of the Council"), a magnificent hall with eleven apses, in which were held the various Councils of the Lateran during the medieval period.
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The magnificence of early Christian basilicas reflected the patronage of the emperor and recalled his imperial palaces and reflected the royal associations of the basilica with the Hellenistic Kingdoms and even earlier monarchies like that of Pharaonic Egypt. Similarly, the name and association resounded with the Christian claims of the royalty of Christ – according to the Acts of the Apostles the earliest Christians had gathered at the royal Stoa of Solomon in Jerusalem to assert Jesus's royal heritage. For early Christians, the Bible supplied evidence that the First Temple and Solomon's palace were both hypostyle halls and somewhat resembled basilicas. Hypostyle synagogues, often built with apses in Palestine by the 6th century, share a common origin with the Christian basilicas in the civic basilicas and in the pre-Roman style of hypostyle halls in the Mediterranean Basin, particularly in Egypt, where pre-classical hypostyles continued to be built in the imperial period and were themselves converted into churches in the 6th century.
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When the 1914-1918 war ended, the Pope declared St Anne "patron of Brittany" and, as with all of France, Brittany was left in 1918 traumatized and bereaved and in 1920 Monseigneur Célime Gouraud, Bishop of Vannes along with the other four Breton diocesan bishops, proposed the creation of a place of remembrance for all those lost. An architectural competition was launched and René Ménard of Nantes was given the commission. The crypt was inaugurated in 1928 and the esplanade and coupole finished in 1932 and the surrounding wall was decorated with the "stations of the cross" by Jacques Ballandre and completed from 1932 to 1934. On either side of the entry to the crypt are Le Bozec's two bas-reliefs depicting "Victory" and "Peace" and in each of the five apses are granite altars of which those for the dioceses of Vannes, Nantes and Saint-Brieuc were also by Le Bozec.
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As mentioned above, several constructive phases can be recognized in the building during the Byzantine period. The first church, erected in the middle Byzantine age, had an almost square plan (about 11.65 m x 10 m ) with three apses, and was oriented toward the East. In 1935, only the tripartite sanctuary and the Bema were still visible.Westphalen (1998) p. 37 The church was built on a basement composed of 24 vaulted rooms and a vaulted crypt with an apse, which is supposed to have been a chapel containing relics.Westphalen (1998) p. 24 These rooms had at first a profane usage, later they were used as burial place and finally as a cistern.Westphalen (1998) p. 47 The second church, erected at the end of the twelfth century, used also 16 small rooms of the abandoned first church's basement as substructure. The masonry was made of stone and bricks, and was erected with the technique of the recessed brick,Janin (1953), p. 560.Westphalen (1998) p. 53Westphalen (1998) p.
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At the western end, there are three enclosures, the central one used as an access vestibule, and two located on the left and right which may have been used to house pilgrims. The vault over the central nave, like the one over the apses, is barrelled with a brick ceiling and decorated with al fresco wall painting, alternating a variety of geometric designs.Valdediós ground plan The royal tribune is located above the vestibule, separate from the area intended for the congregation (spatium fidelium) in the central nave, and this from the area devoted to the liturgy by iron grilles, now disappeared. Particular elements of this church include the covered gallery annexed to the southern facade at a later date or Royal Portico, the 50 cm square columns on the central naves arches, the triple- arched window open in the central apse, and the room above it, exclusively accessed from the exterior by a window which here has two openings, compared with the habitual three.
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He owned books by influential Italian Renaissance architects such as Sebastiano Serlio and Leon Battista Alberti, and his library contained books by French architects, sculptors, illustrators and architectural theorists like Jean Cotelle, Philibert de l'Orme, Abraham Bosse, Jean Bullant, Salomon de Caus, Roland Fréart de Chambray, Hugues Sambin, Antoine Desgodetz, and John James's translation of Claude Perrault's Treatise of the Five Orders. Whether Palladio's work inspired Chiswick or not, the Renaissance architect exerted an important influence on Lord Burlington through his plans and reconstructions of lost Roman buildings; many of these, unpublished and little known, were purchased by Burlington on his second Grand Tour and housed in the Blue Velvet Room, which served as his study. These reconstructions were the source for many of the varied geometric shapes within Burlington's Villa, including the use of the octagon, circle and rectangle (with apses). Possibly the most influential building reconstructed by Palladio and used at Chiswick was the monumental Roman Baths of Diocletian: references to this building can be found in the Domed Hall, Gallery, Library and Link rooms.
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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.
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Tomb of Saint Lazarus in the Church of St. Lazarus Tradition says that the place of Lazarus' tomb was lost during the period of Arab rule beginning in 649. In 890, a tomb was found in Larnaca bearing the inscription "Lazarus, four days dead, friend of Christ". Emperor Leo VI of Byzantium had Lazarus' remains transferred to Constantinople in 898. The transfer was apostrophized by Arethas, Bishop of Caesarea, and is commemorated by the Orthodox Church each year on October 17. The transferred relics were later looted by the Fourth Crusade in the early 13th century and were brought to Marseille but subsequently lost. In recompense to Larnaca for the translation, Emperor Leo had the Church of St. Lazarus erected over Lazarus' tomb in the late 9th to early 10th centuries. The church is an elongated building measuring 31.5 x 14.5 m with a tripartite sanctuary, semicircular apses internally and three- sided externally and a five-sided apse in the center. The interior structure of the church is divided into three aisles with bulky double pillars and arched openings going through them.
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In front of the atrium was a round courtyard that opened onto the Cardo. Due to the sparse archaeological evidence and the obscurity of Procopius’ description, this plan is difficult to reconstruct. Despite the obscurity of literary details, Tsafrir has proposed that west of the atrium, there were monumental gates that opened into an area that contained a gatehouse and an arch. Beyond this, Tsafrir has hypothesized two semicircles: one would have connected the church complex to the Cardo, while the other was located across the street and provided access to the hospital and hospice.Y. Tsafrir, “Procopius and the Nea Church in Jerusalem.” Antiquité Tardive 8 (2000), 149-164. Tsafrir tentatively proposes this reconstruction, making sure to note that “the complex of the propylaea, the arch, the exedrae on the western side of the atrium, and the arrangement of the hospice and hospital are still unclear” (163). In the interior of the church, the nave terminated at a large apse that was flanked by two symmetrical smaller rooms with apses inscribed in their eastern walls.
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The Moon's motion is more complex than those of the planets, mainly due to the competing gravitational pulls of the Earth and the Sun. The motion of the Moon can be measured accurately, and is noticeably more complex than that of the planets. The ancient Greek astronomers, Hipparchus and Ptolemy, had noted several periodic variations in the Moon's orbit, such as small oscillations in its orbital eccentricity and the inclination of its orbit to the plane of the ecliptic. These oscillations generally occur on a once-monthly or twice- monthly time-scale. The line of its apses precesses gradually with a period of roughly 8.85 years, while its line of nodes turns a full circle in roughly double that time, 18.6 years.Smith, p. 252. This accounts for the roughly 18-year periodicity of eclipses, the so-called Saros cycle. However, both lines experience small fluctuations in their motion, again on the monthly time-scale. In 1673, Jeremiah Horrocks published a reasonably accurate model of the Moon's motion in which the Moon was assumed to follow a precessing elliptical orbit.
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Arlington Court,Ground Floor; 1: Staircase Hall; 2: Entrance Hall; 3: Morning Room; 4: Ante Room; 5: White Drawing Room; 6: Boudoir; 7: Music Room; 8: Dining Room; 9: Model Ship Lobby; 10: not open; 11: not open; 12: not open; 13: Kitchen (now Restaurant); 14: not open; 15: not open; 16 now Restaurant. The architecture of the house, a severe neoclassical style, which in many ways resembles the architecture made popular in the early 19th century by Sir John Soane, under whom Arlington's architect Thomas Lee trained.Hugh Meller; Arlington Court, published by the National Trust 1988. p11.H Often mistakenly likened to the slightly more flamboyant Greek Revival architecture, the style confines most ornament to the interior of the house, leaving the symmetrical exterior almost unadorned and chaste, relying only on window and door apertures and shallow recesses and apses and the occasional pilaster to relieve the austerity of the facade; at Arlington, this is seen in the shallow twin pilasters terminating the two principal façades, the lack of either aprons or pediments to the windows and, in place of the near conventional classical entrance portico of the era, is a single-story, semi-circular pillared porch.
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Savelyev, 2005 p.31 The first of these churches was built in 1861–1866 on the Greek Square of Saint Petersburg. Architect Roman Kuzmin (1811–1867) loosely followed the canon of the Hagia Sophia – a flattened main dome blended into a cylindrical arcade resting on a cubical main structure. Kuzmin, however, added a novel feature – instead of two apses, typical of the Byzantine prototypes, he used four.Savelyev, 2005 p.33The church received a direct bomb hit in World War II and was finally demolished in 1959. This cross-shaped layout was refined in 1865 by David Grimm, who extended Kuzmin's flattened structure vertically. Although Grimm's design remained on paper for over 30 years, its basic composition became nearly universal in Russian construction practice.Savelyev, 2005 p.44 Saint Vladimir Cathedral in Chersonesos by David Grimm Another trend was launched by David Grimm's design of the Saint Vladimir Cathedral in Chersonesus (1858–1879). The church, built on the ruins of an ancient Greek cathedral, was sponsored by Alexander II. Grimm, also a historian of Caucasian heritage, was picked by Maria Alexandrovna, most likely upon advice by Gagarin and Maria Nikolaevna.Savelyev, 2005 p.
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A similar warning against papal hubris made on this occasion was the traditional exclamation, "Annos Petri non-videbis", reminding the newly crowned pope that he would not live to see his rule lasting as long as that of St. Peter. According to tradition, he headed the church for 35 years and has thus far been the longest-reigning pope in the history of the Catholic Church.St Augustine of Hippo, speaking of the honours paid to bishops in his time, mentions the absides gradatae (Apses with steps, a reference to the seating arrangement for the presbyters in the apse of the church, with the bishop in the middle (William Smith, Samuel Cheetham, Encyclopaedic Dictionary of Christian Antiquities, "elevated stalls" in the Sparrow-Simpson translation (p. 83), and appearing as "thrones ascended by flights of steps" in the Cunningham translation), and cathedrae velatae (canopied thrones, appearing as "canopied pulpits" in both those translations) – Letter 203 in the old arrangement, 23 in the chronological rearrangement A traditionalist Catholic belief that lacks reliable authority claims that a Papal Oath was sworn, at their coronation, by all popes from Agatho to Paul VI and that it was omitted with the abolition of the coronation ceremony.
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