62 Sentences With "choir screen" | Random Sentence Generator

You'll be in the dim Medieval Sculpture Hall, with its giant iron choir screen — but something unusual, something brilliant, is peeking out beyond it.

The hall's Spanish iron choir screen frames an eye-popping haute couture ensemble by John Galliano for Dior in 2000-1, with a beaded headpiece shaped like a bishop's mitre.

John Quarrel The carvings in the chancel are thought to be the work of stonemasons who worked on the choir screen and Chapter House in Southwell Minster.

St. Michael and All Angels Right choir screen Left choir screen Cherubim (detail) from rood screen St Michael and All Angels is the Church of England parish church of Barton Turf in the county of Norfolk in England. See Inside here. It stands about a kilometre south-west of the village in the midst of a plantation of trees. Particularly notable for its surviving paintings, the church is listed with Grade I.

Corsham stone was used for the arcades and the choir screen, which includes courses of Polyphant stone. The font is entirely of Polyphant stone. It was consecrated on 9 October 1888.

New York: Thames & Hudson, Inc., 2003. p 61. Print. While Duccio's Maesta and Simone's Annunciation were displayed behind the choir screen, Pietro's Birth of the Virgin was on view in the central part of the Siena Cathedral.

White House nativity scene, 2008 Perhaps the best known nativity scene in America is the Neapolitan Baroque Crèche displayed annually in the Medieval Sculpture Hall of the Metropolitan Museum of Art in New York City. Its backdrop is a 1763 choir screen from the Cathedral of Valladolid and a twenty-foot blue spruce decorated with a host of 18th-century angels. The nativity figures are placed at the tree's base. The crèche was the gift of Loretta Hines Howard in 1964, and the choir screen was the gift of The William Randolph Hearst Foundation in 1956.

161 (I-ME, Fondo SS. Salvatore, Ms. gr. 161 ff.71–74), as of Constantinopolitan origin. According to him the dramaturgy of the doors were not those of the choir screen, but of an elliptic ambo under the dome of the Hagia Sophia.

In the centre, there is a baptismal scene with naked figures. The highly coloured and gilded finish has been restored. The lattice choir screen (1650) consists of nine panels decorated with flowers, herms and symbols of the virtues. The pedestal bears the naked figures of Adam and Eve while the upper cartouche presents Christ bearing the globe.

There are two war memorials, both dedicated to parishioners who died in the First World War. One is beside the main rood screen. Its design, by a "Mr. Robinson of Westminster" was announced in the Parish magazine of September 1917 to "take the form of Cavalry in oak over the choir screen", at a planned cost of around £100.

There are three panel windows with tracery in the choir, though they have been altered or replaced. The Organ is also located in the choir. The elaborately worked choir screen, which separates the choir from the nave, dates from 1927, the 400th anniversary of the university. It was added post hoc, just like the galleries and the organ.

The Bovenkerk (English: Upper Church; also known as the Church of St. Nicholas) is a large, Gothic church and the most striking element on the skyline of Kampen, Overijssel, Netherlands. The interior of the church contains an early-Renaissance choir screen, a stone pulpit and a monumental organ. The church has 1,250 seats. It is a Reformed church.

In 1819, he was a member of a Delegacy advising on the development of the site Hertford College as a replacement for Magdalen Hall. There is a watercolour painting by him of the Vale of Conway in the Victoria & Albert Museum, London. He was a prebendary at Gloucester from 1816. At Gloucester Cathedral, he designed the Gothic choir screen, erected in 1820.

At the end of the nave a chancel arch frames the organ and choir loft. A dais with low timber balustrades is located in front of the choir screen under the crossing. The pulpit and baptismal font are positioned on this dais. The transepts are visually separated from the crossing by structural timber columns and decorative timber arches that span between the columns.

The lower paintings in the apse and on the altar are by C E Buckeridge done in 1889–91. The painting in the vault was added later by a different artist, which is why they are in a different style. Other alterations have taken place throughout the 20th century. The wrought iron choir screen dates from 1927, when Holy Trinity became pro-cathedral.

The chant books of the abbey also provide the cherubikon as the offertory chant for the Pentecost Mass. With this change came also the dramaturgy of the three doors in a choir screen before the bema (sanctuary). They were closed and opened during the ceremony.Neil Moran (1979) interpreted the four antiphona that interrupted the cherubikon in the Italobyzantine psaltikon Cod. mess.

The ante-chapel is that portion of a chapel which lies on the western side of the choir screen. In some of the colleges at Oxford and Cambridge the ante- chapel is carried north and south across the west end of the chapel, constituting a western transept or narthex. This model, based on Merton College chapel (13th century), of which only chancel and transept were built though a nave was projected, was followed at Wadham, New and Magdalen Colleges, Oxford, in the new chapel of St John's College, Cambridge, and in Eton College. In Jesus College, Cambridge, the transept and a short nave constitute the ante-chapel; in Clare College an octagonal vestibule serves the same purpose; in Christ's, Trinity and King's Colleges, Cambridge, the ante- chapel is a portion of the main chapel, divided off from the chancel by the choir screen.

The house of the commendatory abbot survives, and has been converted into a large country house, and the former monastic estate is still farmed. Near the house three arcades of the cloister have been set up. Bases and capitals of the pillars from the church nave have also been discovered. The choir screen of the abbey church is now in the parish church of Varzy.

Rose, p. 121. The state procession was shown live on the new BBC Television Service, the first major outside broadcast. At Elizabeth II's coronation in 1953, most of the proceedings inside the abbey were also televised by the BBC. Originally, events as far as the choir screen were to be televised live, with the remainder to be filmed and released later after any mishaps were edited out.

The church is a fortress church, built of coral stones and located on a hill near the sea. It originally served as a watchtower for Moro raids. The church is known for its original terracotta roof tiles and its distinct folk art or Filipino Baroque style seen predominantly on its choir screen and pulpit. Twenty-eight pillars support the thick walls made of mortar and lime.

All the woodwork in the sanctuary is English bog oak carved by forty-five Bavarian craftsmen. No two carvings are alike on the thirty-two pews, the ornate pulpit, the organ pipe cases, the choir screen or the doors. In the rafters above the pews are ten wooden angels covered in beaten gold. Each ten foot high angel holds articles and bear inscriptions symbolizing ten attributes of the intellectual life.

It contains a remarkable choir screen in polychromatic marble carved by the Cambrai native Gaspard Marsy as well as La mise au tombeauu by Peter Paul Rubens dating from 1616. The grand organs built in 1867 by Merklin were the subject of a significant transformation in 1978. The current instrument has 41 stops. This church has been the subject of a restoration of the frontage and roofing over a period of four years (2011–2015).

Between 1434 to 1439 he painted a panel for the choir screen of the church of Sant'Egidio, Florence, perhaps identifiable with the Madonna and Child with Four Angels today at the Museum of San Marco in Florence. He also painted a painted crucifix for San Marco, recorded in 1448. Vasari mentions a double portrait of Giovanni di Bicci de' Medici (d. 1429), founder of the Medici family fortune, and his ally, Bartolommeo di Taldo Valori.

See the marble screen of Veliko Tarnovo, which is close to the reconstruction based on a marble fragment of the 6th century. Concerning the Hagia Sophia, which was constructed earlier, the procession was obviously within the church.Neil Moran offers a discussion of different hypotheses concerning the exact way of the procession. He also regards a central ambo, positioned slightly eastwards before the choir screen, as the regular place of the chanters since the 5th century.

Organ case of 1909 by John Oldrid Scott The first organ since the reformation was installed in 1825 by Renn and Boston, in a gallery on the east side of the choir screen wall. This organ was rebuilt several times by Booth of Wakefield, Forster and Andrews of Hull and Conacher of Huddersfield. In 1868 the organ was rebuilt and moved to a bay in the choir. The opening recital was given by William Thomas Best.

Skidmore & Co. V&A; Museum no. M.251-1984 The Hereford Screen is a great choir screen designed by Sir George Gilbert Scott (1811-1878) and made by Coventry metalworking firm Skidmore & Co. for Hereford Cathedral, England in 1862. It was one of the Gothic Revival works in iron of the nineteenth century. When it was unveiled at the 1862 International Exhibition it was hailed as the "grandest and most triumphant achievement of modern architectural art".

The wooden choir screen of the sanctuary is based on the upper arcade of the Doge's Palace, Venice. In the early 1950s, possibly influenced by the minimalism of the International Style, a second renovation of the Sanctuary took place. The mid-20th-century renovation largely ignored the architectural history of the church. Louis Comfort Tiffany's paint and stenciling was obscured by a coat of light gray paint, and the purple Tiffany glass installed over the stained glass was removed.

The chapel was put up for auction in 1874 and purchased for £5,400 by the Catholic convert Father William Lockhart of the Rosminian order. Under Lockhart's direction, the crypt and upper church were restored by George Gilbert Scott to their original 13th- century designs. John Francis Bentley designed a choir screen incorporating a confessional, an organ and a choir gallery. The royal coat of arms, added during the reign of Charles I, was removed to the cloister.

There is another memorial to Robert Gray in the chancel, this is the archbishop's throne made from the choir screen of Westminster Abbey. Above the high altar is a suspended rood, at the foot of the crucified Christ are the Blessed Virgin Mary and St John. The floreated ends of the cross carry the signs of the four evangelists, St Matthew, St Mark, St Luke and St John. At the bottom of the rood is the figure of a pelican.

At the same time a simple oak central altar was installed in the nave to the west of the choir screen. The lady chapel has been reinstated in the south chancel-transept and the nave transepts have been cleared of unwanted pews in order to create a feeling of spaciousness throughout the building. More recently, in 2007, the Pimlico Room, parish office and sacristy have been renovated and restored. The Pimlico Room had been subsiding; this was attended to, and toilets added.

In many respects Exeter cathedral resembles those of France rather than others found in England. Its special features are the transept towers and the choir, containing much early stained glass. There is also an episcopal throne, separated from the nave by a choir screen (1324) and a stately West front. In a comparison with certain other English cathedrals, it is perhaps disadvantaged by the absence of a central tower and a general lack of elevation, but it is undoubtedly very fine.

Vaulting in the side aisle The Marienstiftskirche is a late Gothic hall church with three aisles and seven bays. It is not oriented exactly to the east, but slightly east-north-east on account of the city wall. There is no transept; the whole structure is in line with the choir space, which was originally separated off from the nave by a choir screen. The nave has a steeply pitched roof, which also covers the side aisles and is slightly hipped at the west end.

Further depictions of Mary are found in the church background. They include a statue of the Virgin and Child positioned between two lit candles in the choir screen behind the main figures, and to the right two angels stand in the choir singing her praises (perhaps singing the hymn inscribed on the frame). Above her is an annunciation relief, and in the recessed bay a relief depicting her coronation; the crucifixion is shown on the rood. Thus, the stages of Mary's life as mother of Jesus are depicted in the painting.

Standing cup with cover Choir screen in Nieuwe Kerk, Amsterdam Detail of choir gate in auricular style He was a pupil of Paulus van Vianen who was known for his auricular style in silver, so-called for its smooth, ear-like forms. After spending time in Paris (ca. 1615), Lutma came to Amsterdam in 1621 where he got engaged on 31 maart 1623 to Mayken Roelants, and on 18 mei 1638 to Saera de Bie.Johannes Lutma in the RKD He was a friend of Rembrandt, who later etched a portrait of him.

In his reconstruction, especially of windows, he commonly mixed architectural styles carelessly (see the south aisle, the south choir screen and vaulting). He spent £50,000 remaking the nave. Elsewhere he completely rebuilt the south wall cloisters, with new heavy buttresses, and removed the arcading of the east cloisters during rebuilding the south transept walls. In the south transept he completely remade the south face, completed in 1885, including the huge lancet window group — his proudest achievement — and the flanking turrets; a weighty new tiled roof was also made.

The church has a single nave with lateral corridors and tribunes, a design typical of the early 18th century. The consistory and sacristy sit on either side of the chancel. Carvings on the altar, the cross arch, tribunes, choir screen, and pulpits were completed between 1769 and 1770 by Domingos da Costa Filgueira; they were replaced in 1814 by neoclassical design elements. The left side altar has an image of Saint Anthony of Padua; the altar on the right has an image of the Sacred Heart of Jesus.

Between 1315 and 1322 the central tower was heightened and topped by a spire, which caused the piers that supported it to show signs of stress. In 1338 the mason William Joy employed an unorthodox solution by inserting low arches topped by inverted arches of similar dimensions, forming scissors-like structures. These arches brace the piers of the crossing on three sides, while the easternmost side is braced by a choir screen. The bracing arches are known as "St Andrew's Cross arches", in a reference to the patron saint of the cathedral.

The high altar has six red marble columns supporting black beams topped by a Holy Trinity. Günther's main altar picture shows the arrival of Mary in Heaven, flanked by life-sized statues of her parents, Joachim and Anne. The stucco-workers who made the ceiling above also added the altars in the northern and southern transept in 1747. The choir screen from wrought iron was made in 1748-50 by Marx Gattinger from Würzburg, who had also worked with Oegg on the fence in front of the Würzburg Residence.

Between the north choir aisle and the eastern aisle of the transept is the tomb of Peter Aquablanca, the most ancient of the episcopal monuments in the church. The effigy is an example of a bishop in full vestments; the canopy is supported by slender shafts; the carving throughout is delicate. The south transept is thought by some authorities to be the oldest part of the cathedral, and it exhibits some Norman work, notably the eastern wall with its arcades. Until its removal in the 1960s there was a wrought iron choir-screen, painted and gilt.

The artist mastered a remarkable challenge concerning the usage of the limited space. In the representation of the last supper, he limited the number of disciples beside Christ in the middle and the clearly isolated betrayer Judas to four. The monumental multi-coloured crucifixion group in the central portal of the choir screen shows in an impressive manner the immeasurable suffering of Christ and the deep and obvious grief of Mary and John. Gothic west choir Founder figures Hermann und Reglindis The Early Gothic west choir is a hall choir and was built with an elevated gallery.

After the instrument was removed to Canterbury it was erected on the choir screen, and remained at Canterbury for over a century before it was replaced by the current Willis instrument. Given the large specification of the Green organ, and the size of the orchestra that was employed for the performances at Westminster Abbey, it may be logical to suggest that the harpsichord’s only real use in the ensemble was as a remote console for the organ rather than as a timbre in its own right. Charles Burney does suggest that Handel had used a similar device before.

In the 15th century extensive work was undertaken, in part due to damage (believed to be from natural causes) in the northern part of the church. In the east end of the church, the early lancet windows were replaced by one huge window of stained glass, misericords were installed in the choir, and the tower was extended. Unusually, the extension to the tower sits at a 45-degree angle to the base on which it rests, a feature believed to be unique in England. Work on the building continued intermittently into the 16th century, when the choir screen was constructed.

The following day the Abbey was crowded for the funeral, including representatives from the University of Glasgow and the University of Cambridge, along with representatives from France, Italy, Germany, Austria, Russia, the United States, Canada, Australia, Japan, and Monaco. Kelvin's grave is in the nave, near the choir screen, and close to the graves of Isaac Newton, John Herschel, and Charles Darwin.'The Abbey Scientists' Hall, A.R. p62: London; Roger & Robert Nicholson; 1966 The pall-bearers included Darwin's son, Sir George Darwin.Glasgow Herald, 24 December 1907 Back in Scotland the University of Glasgow held a memorial service for Kelvin in the Bute Hall.

In addition to the restoration of the fabric of the building, Scott designed internal fittings such as the choir screen to replace those destroyed during the Civil War. He built the fan vault of the south porch, renewed the wooden vault of the choir and added a great many decorative features to the interior. Scott's restorations were not without their critics and caused much debate in architectural circles. Scott claimed to have archaeological evidence for his work, but the Liverpool architect, Samuel Huggins argued in an 1868 address to the Liverpool Architectural Society, that the alterations were less like restoration and more like rebuilding.

Construction of the Basilica probably began around 1232, just one year after the death of St. Anthony. It was completed in 1310 although several structural modifications (including the falling of the ambulatory and the construction of a new choir screen) took place between the end of the 14th and the mid-15th century. The Saint, according to his will, had been buried in the small church of Santa Maria Mater Domini, probably dating from the late 12th century and near which a convent was founded by him in 1229. This church was incorporated into the present basilica as the Cappella della Madonna Mora (Chapel of the Dark Madonna).

Bentham and Essex were both enthusiastic proponents of a longstanding plan to relocate the 14th century choir stalls from under the octagon. With the octagon and east roof dealt with, the scheme was embarked on in 1769, with Bentham, still only a minor canon, appointed as clerk of works. By moving the choir stalls to the far east end of the cathedral, the octagon became a spacious public area for the first time, with vistas to east and west and views of the octagon vaulting. They also removed the Romanesque pulpitum and put in a new choir screen two bays east of the octagon, surmounted by the 1690s organ case.

The repairs executed between 1757 and 1762 were carried out conservatively, the old timber being, where possible, preserved; but Essex recommended the destruction of the west porch, as "neither ornamental nor useful". In 1760 he built the doctors' gallery in Great St Mary's Church (Burrough, architect), and the next year accepted a major commission at Lincoln Cathedral, where substantial repairs were needed. Besides these he constructed an arch under the west tower, repaved the entire church, repaired the choir screen, and designed an altarpiece and bishop's throne. Here, also, Essex tried to get the choir removed to the same position as at Ely, but without success.

The old choir screen, with its two side-by-side entrances, was also retained and formed the basis of the modern voting system for parliamentarians, with "aye" voters passing through the right-hand door and "no" voters passing through the left-hand one.Kim Dovey, Framing Places: Mediting Power in Built Form (1999), p. 87 In order to suit the needs of the House of Commons, various changes to the chapel's original Gothic form were made by various architects between 1547 and 1834. Initial changes during the late 16th Century were relatively minor; the original chapel furnishings were replaced, the interior whitewashed and the stained-glass windows replaced with plain glass.

Closely detailed beams of light spill through the high windows and illuminate the interior, filling the portal and flowing across the tiled floors before it hits the clerestory windows. The brilliance of the daylight is juxtaposed with the gentle glow of the candles in the choir screen altar, while the lower portion of the pictorial space is relatively poorly lit. Shadows cast by the cathedral can be seen across the choir steps and near aisle. Their angle is rendered in an unusually realistic manner for early 15th century, and the detail is such that their description is likely based on observation of the actual behaviour of light, a further innovation in 15th-century art.

In the lower one is a series of 36 ancestors of Jesus, following the genealogy of Jesus as mentioned in the Gospel of Matthew; the first two and the last two ancestors have been painted on the pillars next to the choir screen. In the upper row are scenes of the life of Mary (Deposition, Triumph in Heaven, Assumption) from the late 12th century Burgundian school. The high altar has, in a tabernacle, a colored terracotta triptych from the mid-15th century, while behind are two Romanesque bas-reliefs in stone, depicting the Archangel Gabriel and the Madonna. The access to the cloister is surmounted by a lunette in Gothic style, portraying the Virgin Enthroned with two angels.

Ella Rose Curtois and her father were responsible for carving the choir screen in Branston church, most of which was destroyed in a fire on Christmas Day 1962. However, several of her carvings were saved and remounted in the casing of a new church organ. Curtois lived most of her life in London and in Paris where she died during World War II. Her will left a few small legacies to a friend, but the residue went to the Usher Gallery in Lincoln and was used to erect a new gallery which was opened there in 1959. One of her sisters, Mary Henrietta Dering Curtois was a painter and artist of some note.

The Norman choir screen, having fallen into a state of decay, was replaced in 1637–40 by a new one designed by Inigo Jones. It was in a classical style, with bronze figures by Hubert le Sueur of James I and Charles I in niches. It was removed in 1820s, by when its style was felt inappropriate in an otherwise medieval building. The central bay, with its archway, is now in the Museum of Archaeology and Anthropology at Cambridge; it was replaced by a Gothic screen by William Garbett, then the surveyor to the Dean and Chapter of the Cathedral, along with other repairs conducted by him, its design based on the west doorway of the nave.

In 1847 the architect Anthony Salvin removed Cosin's wooden organ screen, opening up the view of the east end from the nave,The towers at the end of the nave and in 1858 he restored the cloisters. The Victorian restoration of the cathedral's tower in 1859-60 was by the architect George Gilbert Scott, working with Edward Robert Robson (who went on to serve as Clerk of Works at the cathedral for six years).Who Was Who, online edition, ROBSON, Edward Robert (subscription required), accessed 13 December 2008 In 1874 Scott was responsible for the marble choir screen and pulpit in the Crossing. In 1892 Scott's pupil Charles Hodgson Fowler rebuilt the Chapter House as a memorial to Bishop Joseph Barber Lightfoot.

The base of the tower and the first two stages are Saxon with four doorways, the top of the tower is 15th century as are the clerestory, the nave battlements, the north doorway and porch, the middle arch of the arcade, the west window with busts of a king and queen and the east window with a leaf frieze. The tower is the earliest part of the church, preserved in the middle despite restricting views of the chancel from the nave here, is the current site of the altar. The font is an octagonal bowl resting on eight sculptured heads similar to others in the county at Snitterfield and Lapworth. The old oak pulpit and choir screen is 15th century.

Newton statue on display at the Oxford University Museum of Natural History Newton's monument (1731) can be seen in Westminster Abbey, at the north of the entrance to the choir against the choir screen, near his tomb. It was executed by the sculptor Michael Rysbrack (1694–1770) in white and grey marble with design by the architect William Kent.'The Abbey Scientists' Hall, A.R. p13: London; Roger & Robert Nicholson; 1966 The monument features a figure of Newton reclining on top of a sarcophagus, his right elbow resting on several of his great books and his left hand pointing to a scroll with a mathematical design. Above him is a pyramid and a celestial globe showing the signs of the Zodiac and the path of the comet of 1680.

Although heavily engaged in large scale construction and civil engineering work the firm was proud of its retention of craft skills. Work on churches included restoration and expansion of Hexham Abbey including a new nave and restoration of the choir screen and stalls, the building of a new chapel at Ampleforth Abbey (1922-5) and in 1926-30 the 9th Church of Christ, Scientist, Marsham Street Westminster. There was a considerable demand for memorials and similar enterprises after both the First and Second World Wars. Of note are the Memorial Cloisters at Winchester College (1924), Harrow School memorial, Marlborough College Memorial Hall (1925), the Arch of Remembrance in Victoria Park, Leicester (1925), King George V Memorial FountainKing George V Memorial Fountain Windsor (1937), the Trafalgar Square reconstruction (completed 1948), the Air Forces Memorial Runnymede (1953), and the Magna Carta Memorial, Runnymede (1957).

No written sources about the chief sculptor-architect of this workshop who was named after his main work in Naumburg. However, there is a general consensus with regard to the itinerary of the building workshop from Mainz via Naumburg to Meissen. An assumption relying on the analysis of historic sources is based on the idea that the milestones of his creative work are marked by the completion of the choir screen in Mainz in 1239, the west choir in Naumburg in 1249/50 and the work of the building workshop in Meissen from 1250 up until prior to 1268. Next to the plant ornaments, based on the thorough observation of nature and found in all three places, and next to the many matching architectural details, identical stonemason's marks recently found in Iben, Naumburg and Meissen support the evidence.

The migration of the building workshop of the Naumburg Master, from Northern France over the Middle Rhine area up to the eastern boundaries of the German Empire and further on to southwestern Europe, reflects the extensive European cultural exchange during the High Middle Ages. Choir screens West choir Naumburg This mural choir screen type combines high artistic architecture, ornamentation and figural sculptures. The plant décor of the west choir, due to its exceptional accuracy and the great variety of shapes to be seen on the capitals, friezes and corbels (corydalis, mugwort, hazel and vine), softens the sharpness and blocky features of the partition architecture and emphasises the organic character of the architecture. The relief frieze is one of the most sophisticated and formally most perfected arrangement of the Passion of Christ among the preserved sculptural ensembles from the 13th century throughout Europe.

View of the steeple from the north Main portal View of the choir screen and the organ The Saint-Pierre-le-Jeune Protestant Church (Église protestante Saint-Pierre-le-Jeune) View of church is one of the most important church buildings of the city of Strasbourg, France, from the art historical and architectural viewpoints. It got its name, "Young St. Peter's", because of the existence of three other St. Peter's churches in the same city: Saint-Pierre- le-Vieux ("Old St. Peter's"), divided into a Catholic and a Lutheran church, and Saint-Pierre-le-Jeune catholique, a massive neo-Romanesque domed church from the late 19th century. The church has been Lutheran since 1524 and its congregation forms part of the Protestant Church of Augsburg Confession of Alsace and Lorraine. It is located on the Route Romane d'Alsace.

The interior, the nave of which is almost twice as high as it is wide, has a very high arcade, like German hall churches, carried on clusters of thin shafts, those of the chancel being decorated in paint and gold leaf with a helical pattern like a barber's pole, bearing the legend Sanctus Sanctus Sanctus Dominus Deus Sabaoth ('Holy, Holy, Holy, Lord God of Hosts'). The wooden ceiling, with curving blue trusses, is ornamented with monograms and floral patterns, inspired by the remnants of medieval decoration to be found on the ancient ceilings of Ely and Peterborough Cathedrals. Phoebe Stanton describes the ornate decoration of the ceiling as "brilliant" and so delicate that "it resembles fabric stretched over a lattice". Pugin designed many of the fittings including the high altar under an elaborate baldachin, with riddel posts, and the choir screen.

Standing cup by Johannes Lutma, 1639 Detail of brass choir-screen by Lutma, Nieuwe Kerk, Amsterdam The auricular style or lobate style (Dutch: Kwabstijl, German: Ohrmuschelstil) is a style of ornamental decoration, mainly found in Northern Europe in the first half of the 17th century, bridging Northern Mannerism and the Baroque. The style was especially important and effective in silversmithing, but was also used in minor architectural ornamentation such as door and window reveals, picture frames, and a wide variety of the decorative arts.Schroder, "[the style] in its fully developed form is found only in metalwork." It uses softly flowing abstract shapes in relief, sometimes asymmetrical, whose resemblance to the side view of the human ear gives it its name, or at least its "undulating, slithery and boneless forms occasionally carry a suggestion of the inside of an ear or a conch shell".

The first documentary evidence of the Strasbourg Fondation de l’Œuvre Notre-Dame, dates back to 1281, and it is still responsible for the maintenance of the cathedral. In addition to the building plans, which have been preserved from the very beginning, they also conserve architectural artifacts such as fragments of the choir screen, which was destroyed in 1681 and the originals of the sculptures which were removed or knocked down during the French Revolution and were later replaced by copies. The Société pour la conservation des monuments historiques d’Alsace (Society for the Conservation of the Historical Monuments of Alsace), endeavored to rescue the most valuable components and decorations (altars, statues, vessels, tapestries) from churches, cloisters and chapels which had been abandoned to destruction or decay throughout Alsace. The painting collection of the city, restored by Wilhelm von Bode around 1890, exhibited a primary focus on regional masters, as noted by the donation of the "Portrait of the canon Ambrosius Volmar Keller", a masterpiece of Hans Baldung from the private collection of Wilhelm II.