209 Sentences With "ciborium" | Random Sentence Generator

Grove, with further examples These are usually called baldachins (not at Angers), and many have certainly departed from the traditional form of the ciborium. There is a Rococo German example at Worms Cathedral; many German Rococo churches used similar styles that were engaged with the apse wall, or partly so. In addition, according to the 1913 Catholic Encyclopedia articles on "Baldachin" and "Ciborium", the Catholic Church opted, apparently in the 20th century, to use officially "ciborium" only for the vessel and "baldachin" for all architectural forms.1913 Catholic Encyclopedia: "Ciborium" and Altar Canopy Architectural historians generally prefer to use "ciborium" at the least for all square four-column roofed forms.

Smaller examples may cover other objects in a church. In a very large church, a ciborium is an effective way of visually highlighting the altar, and emphasizing its importance. The altar and ciborium are often set upon a dais to raise it above the floor of the sanctuary. A ciborium is also a covered, chalice-shaped container for Eucharistic hosts.

In 1816, during demolition and reconstruction works on the façade of the Basilica, a very old ciborium, belonging to St George's parish church, was discovered hidden in the walls of the church. The ciborium dates from Medieval times (12th century) and is mentioned in various manuscripts and records about the parish church. Today the ciborium is kept at the Gozo Cathedral Museum.

Ciborium over the altar of the Basilica of Sant'Ambrogio in Milan. Note curtain rods. A canopy placed over an altar is called a ciborium (a word of which "civory" is a variant form) or baldachin.Encyclopædia Britannica, art.

Ciborium The apsis is dominated by the marble ciborium, modelled after the one in St. Mark's in Venice,Jeanne Oliver, Croatia, pg. 146, Lonely Planet Publications (2005), it was built in 1277 on the orders of Otto, Bishop of Poreč. The canopy, decorated with mosaics, is carried by four marble columns that belonged to the previous 6th-century ciborium. The front side of the canopy depicts representations of scenes from Mary's life, the Annunciation.

Lasko, 60-68 The Arnulf Ciborium (a miniature architectural ciborium rather than the vessel for hosts), now in the Munich Residenz, is the third major work in the group, along with the frame of an antique serpentine dish in the Louvre.Lasko, 64-65, 66-67; picture of the dish Recent scholars tend to group the Lindau Gospels and the Arnulf Ciborium in closer relation to each other than the Codex Aureus to either.

There are two portals, decorated with geometrical ornaments. There is no ciborium in the upper cell.

The ciborium was built in Byzantine style by the architect Giovanni Maggi and the sculptor Giannino Castiglioni in 1932. The columns, arches, and facades are made in yellow marble of Mori and Siena, while the columns and background of the superior side are made of onyx. The ciborium is made of four archivolts, which were designed with the reliefs of angels and four zoomorphic creatures. The interior dome of the ciborium is covered in gold leaf.

The church contains an altar dedicated to the Virgin Mary, and 14th-century ciborium with a baldachin on the north side. The ciborium has four sculptured heads, that of Christ with a halo, a queen, a king, and a monk. The roof of the baldachin bears a painting of the birth of Christ.

Its location (if it had a fixed one) remains uncertain and much discussed, but Saint-Denis Abbey outside Paris is one leading possibility.Lasko, 60-68 The Arnulf Ciborium (a miniature architectural ciborium rather than the vessel for hosts), now in the Munich Residenz, is the third major work in the group, along with the frame of an antique serpentine dish in the Louvre.Lasko, 64-65, 66-67; picture of the dish Recent scholars tend to group the Lindau Gospels and the Arnulf Ciborium in closer relation to each other than the Codex Aureus to either.

This was a gift of Pope Pius IX. In the spire at the top of the ciborium, stands Christ surrounded by four angels.

Silver-gilt ciborium A ciborium (plural ciboria; Medieval Latin ciborium (drinking cup), from the Ancient Greek κιβώριον kibōrion, a type of drinking- cupOED.) is a vessel, normally in metal. It was originally a particular shape of drinking cup in Ancient Greece and Rome, but the word later came to refer to a large covered cup designed to hold hosts for, and after, the Eucharist, thus the counterpart (for the bread) of the chalice (for the wine). The word is also used for a large canopy over the altar of a church, which was a common feature of Early Medieval church architecture, now relatively rare.

The main altar has a depiction of the Madonna of the Rosary in a gilded wooden ciborium designed by Antonio Basile.Diocese of Noto website, entry for San Domenico.

She came dressed as a bishop and was advised by Schwarz not to come to receive communion but she did so, herself taking a host from the ciborium.

Main altar This impressive altar catches the eye with its gilded retable and an elaborate ciborium over it. The artist Joseph Glasser drew his inspiration for the ciborium from examples in Italian Gothic churches, such as the Basilica of St. John Lateran and the Basilica of Saint Paul Outside the Walls, both in Rome. The marble altar is decorated with panels with glass mosaic inlays work. and is supported by six alabaster columns.

Sant'Ambrogio, Milan; note the rods for curtains. The columns are probably 4th century, the canopy 9th, 10th or 12th century. In ecclesiastical architecture, a ciborium ("ciborion": κιβώριον in Greek) is a canopy or covering supported by columns, freestanding in the sanctuary, that stands over and covers the altar in a basilica or other church. It may also be known by the more general term of baldachin, though ciborium is often considered more correct for examples in churches.

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.

When the division took place, the old plate remained with S. Sampson's. Since 1967,a Chalice a Ciborium, and a Wafer Box, all in solid silver, have been presented to the Church; also a Ciborium for use at the Mission Church. The lectern was presented to the Church by the Dean, The Rev'd Thomas Bell on the occasion of his golden wedding anniversary. In 2007 the first ever fine art exhibition of paintings and sculptures was held in the Church.

Oxford Dictionaries The altar may also be marked with a surmounting ciborium, sometimes called a baldachin. As well as the altar, the sanctuary contains the credence table, the ambo and the seats for the clergy.

The structure had doors and inside was a couch or bed. Unusually, it did not hold any physical relics of the saint. The ciborium seems to have been a symbolic tomb. It was rebuilt at least once.

The Orthodox Armenian Apostolic Church and Catholic Armenian Catholic Church; A comparison to the biblical Veil of the Temple was intended. The small domed structures, usually with red curtains, that are often shown near the writing saint in early Evangelist portraits, especially in the East, represent a ciborium,Bock covers the use and decline of ciborium curtains in considerable detail, though he is an old source. as do the structures surrounding many manuscript portraits of medieval rulers.Grove, 2.1 A single curtain hung, usually on a wall, behind an altar, is called a dossal.

The treasures of St. Emmeram's (for example, the ciborium of Arnulf, now in the Residenz) and its valuable library (including Muspilli, the Codex Aureus of St. Emmeram, and Dialogus de laudibus sanctae crucis) were mostly removed to Munich.

The spire rises to 22.8 m in height. The church contains a silver Ciborium (17th century) which is registered as an historical object.Ministry of Culture, Palissy The Water gap of Verdaches where an ancient cache of arms was found in 1958.

The ciborium dates from the late 11th-century. The organ (1733) built by Giovanni Domenico Traeri was frescoed in the 15th century. The church also has paintings by Giovanni Battista Natali and Antonio Alessandri.Museums of Piacenza site, entry on church.

Colaresi, O.Carm., Fr. Bob, "New 'Touch' of St. Therese of National Shrine", Carmelite Review, Vol. 49, No. 4, Fall/Winter 2010 In 2010 these items included a ciborium and chalice from Therese's time as sacristan for her community.Schmidt FSC, Bro.

Two patens and two salvers, 1794. Two flagons, 1860 and 1936. One ciborium, 1966. The parish is very poor as regards ancient vessels, this is accounted for by the fact that S. Sampson's and the Vale were united for two centuries.

East end of the 8th-century Roman basilica of Santa Maria in Cosmedin showing the altar, under a 13th-century ciborium behind a templon screen of columns. The foreground forms the liturgical choir, surrounded by low cancelli screens, to which are attached two ambos, left and right. Until the 6th century the altar of Christian churches would have been in full view of the congregation, separated only by a low altar rail around it. Large churches had a ciborium, or canopy on four columns, over the altar, from which hung altar curtains which were closed at certain points in the liturgy.

The roof had eight panels rising to the globe and cross.Paulus Silentarius, , "pounds" substituted for "lbs."; Smith & Cheetham, 65 The Early Medieval Eastern Orthodox church "directed that the eucharist be celebrated at an altar with a ciborium, from which hung the vessel in which the consecrated host was kept",Schiller, 29 the vessel sometimes being in the form of a dove. Early depictions of the Last Supper in Christian art, showing the Communion of the Apostles, show them queueing to receive the bread and wine from Christ, who stands under or beside a ciborium, presumably reflecting contemporary liturgical practice.

This workshop is associated with the Holy Roman Emperor Charles II (the Bald), and often called his "Palace School". Its location (if it had a fixed one) remains uncertain and much discussed, but Saint-Denis Abbey outside Paris is one leading possibility.Lasko, 60–68 The Arnulf Ciborium (a miniature architectural ciborium rather than the vessel for hosts), now in the Munich Residenz, is the third major work in the group; all three have fine relief figures in repoussé gold. Another work associated with the workshop is the frame of an antique serpentine dish in the Louvre.

Bernini's St. Peter's baldachin (1620s), actually a ciborium, was hugely influential on later ciboria Ciboria are now much rarer in churches in both East and West, as the introduction of other structures that screened the altar, such as the iconostasis in the East and rood screen and pulpitum in the West, meant that they would be little seen, and smaller examples often conflicted with the large altarpieces that came into fashion in the later Middle Ages.Grove, 2 (i) They enjoyed something of a revival after the Renaissance once again opened up the view of the sanctuary, but never again became usual even in large churches. Bernini's enormous ciborium in Saint Peter's, Rome is a famous exception; it is the largest in existence, and always called a baldachin.Krouse, 110 Many other elaborate aedicular Baroque altar surrounds that project from, but remain attached to, the wall behind, and have pairs of columns on each side, may be thought of as hinting at the ciborium without exactly using its form.

Built in 1234, it served as parish church until 1614, when a new, greater church was built in the center of the village. Heavily restored at the beginning of the 18th century, it houses a valuable wooden ciborium carved by Andrea Fantoni.

This is described as a fastigium in the earliest sources, but was probably a ciborium. Like most major early examples it was "of silver", whose weight is given, presumably meaning that decorated silver plaques were fixed to a wood or stone framework.

Four were stolen on 11 September 1989. The main altar is made from polychrome marble with a ciborium shaped like a Tempietto. The Chapel of Santa Orsola was erected in 1780 by the patron Cardinal Domenico Orsini d'Aragona.Comune of Roccagorga, entry on church.

The capuchin monk was beatified in 1729 and canonized in 1767. The church houses an elaborate 17th-century, intarsio wooden tabernacle, modeled after a Ciborium, completed by the capuchin friar, Fra Liberato da Macerata.Comune of Loro Piceno, entry on church by Chiara Negromanti Tini.

The current appearance of the crypt dates from the 18th-century restoration commissioned by cardinal Benedetto Erba Odescalchi and to others from the following century, in which the bodies of the three saints were moved to a silver urn in a space under the ciborium.

The Last Judgment (detail of the apostles), by Pietro Cavallini (1295-1300). Ciborium attributed to Arnolfo di Cambio. The church has a façade built in 1725 by Ferdinando Fuga, which incloses a courtyard decorated with ancient mosaics, columns and a cantharus (water vessel). Its decoration includes the coat of arms and the dedication to the titular cardinal who paid for the facade, Francesco Cardinal Acquaviva d'Aragona. Among the artifacts remaining from the 13th century edifice are a mural painting depicting the Last Judgment (1289–93) by Pietro Cavallini in the choir of the nuns, and the ciborium (1293) in the presbytery by Arnolfo di Cambio.

In 1991, a waterside deck was constructed, and replaced in 2012. A member of the chapel, Thomas R. Bambas, professor emeritus of art at Central Michigan University has designed the beautiful metalwork in the chapel, including the cross over the altar, altar candlesticks, cruets, and a ciborium.

Pseudo-Kufic would be used as writing or as decorative elements in textiles, religious halos or frames. Many are visible in the paintings of Giotto. Examples are known of the incorporation of Kufic script such as a 13th French Master Alpais' ciborium at the Louvre Museum.

Augustine Joseph Schulte, "Altar Curtain" in The Catholic Encyclopedia (New York 1907) From at latest the 4th century, the altar was covered from the view of the congregation at points during Mass by altar curtains hanging from rods supported by a ciborium, riddel posts, or some other arrangement. This practice declined as the introduction of other structures that screened the altar, such as the iconostasis in the East and rood screen and pulpitum in the West, meant that the congregation could barely see the altar anyway. In early times, before the break-up of the Roman Empire exposed such objects to sacking and looting, the consecrated bread of the Eucharist (the reserved sacrament) was kept in a gold or silver dove, sometimes enclosed in a silver tower, suspended by fine chains from the ciborium that sheltered the altar.Mauro Piacenza, "The casing of the Eucharist" in 30DAYS, June 2005 Instead of a four-column ciborium a movable canopy (called a tester) was in some churches suspended from the ceiling above the altar or a fixed canopy attached to the wall was employed.

The interior is highly decorated. In the apse are two canvases depicting the Annunciation and Incarnation, while below are statues depicting the Risen Christ and the Virgin Mary. The main altar has a large marble ciborium with two flanking angel. The ceiling of the tall nave has large frescos.

In addition, there are allegorical depictions of the four evangelists and portraits of Saints. The style recalls the influence of Ambrogio Lorenzetti. The main altarpiece depicts an Enthroned Madonna and Saints by Guidoccio Cozzarelli. The altar has a wooden ciborium sculpted by Bartolomeo Neroni, also called “il Riccio”.

Ciboria, often much smaller, were sometimes also erected to cover particular objects, especially icons and reliquaries,Cormack, 63, with a manuscript miniature showing an icon displayed under a ciborium and smaller ciboria that stood on, rather than over, the altar are also found. The word may also be used of some large sculptural structures that stand behind an altar, often offering no canopy or covering as such, for example at Siena Cathedral. These may be free-standing, or built against a wall, and usage here overlaps with the terms tabernacle and retable. The typical Gothic form of canopied niche to enclose a statue may be regarded as a "reduced form of ciborium".

The Gothic Revival saw the true free- standing ciborium return to some popularity: the Votive Church, Vienna has a large Gothic example designed in 1856, and Ninian Comper built a number, including one for Pusey House. Peterborough Cathedral has a neo-Gothic example, and Derby Cathedral one with the Romanesque small columns below a neo-classical architrave and pediment. Westminster Cathedral, a neo-Byzantine building, has a splayed version of 1894, with extra flanking columns, which within that context is "resolutely modernistic".Grove, 2 (ii) The Gothic style of ciborium was also borrowed for some public monuments like the Albert Memorial in London,Risebero, Bill, Modern Architecture and Design: An Alternative History, p.

Worthington's design was published in The Builder on 27 September 1862, before Scott's final design was unveiled. However, writing in his Recollections, Gilbert Scott suggested his own design was original: > My idea in designing the Memorial was to erect a kind of ciborium to protect > a statue of the Prince; and its special characteristic was that the ciborium > was designed in some degree on the principles of the ancient shrines. These > shrines were models of imaginary buildings, such as had never in reality > been erected; and my idea was to realise one of these imaginary structures > with its precious materials, its inlaying, its enamels, etc. etc. ... this > was an idea so new as to provoke much opposition.

The most important shrine in the city, it was probably larger than the local cathedral. The historic location of the latter is now unknown. The church had an unusual shrine called the ciborium, a hexagonal, roofed structure at one side of the nave. It was made of or covered with silver.

Kaare Klint designed all furnishings and fittings. All but the font are executed in light-coloured timber with a minimum of detail. The ciborium above the altar is inspired by the altar in the Church of the Nativity in Bethlehem. The canopy over the pulpit is decorated with a Star of David.

An engraved silver ciborium dating to the fourth quarter of the eighteenth century is preserved in the church. It would have been manufactured between 1795 and 1798. There are also a silver monstrance, a reliquary, a cross, a chalice, and other treasures.Indices biographiques sur le site du musée des arts décoratifs de Strasbourg.

258 on 22 November 1977. The interior of the church is ornately decorated with religious artwork. The high altar of the cathedral features of the Madonna and Child as Our Lady of the Sacred Heart. The image is flanked by a central ciborium enshrining a cross that is flanked by the Twelve apostles.

13th-century Yaroslavl Gospels, with curtained ciborium in the centre; a common motif in Evangelist portraits Images and documentary mentions of early examples often have curtains called tetravela hung between the columns; these altar-curtains were used to cover and then reveal the view of the altar by the congregation at points during services — exactly which points varied, and is often unclear.Bock, 297-300 on the Western and Greek churches. Altar-curtains survived the decline of the ciborium in both East and West, and in English are often called "riddels" (from French rideau, a word once also used for ordinary domestic curtains). A few churches have "riddle posts" or "riddel posts" around the altar, which supported the curtain-rails, and perhaps a cloth stretched above.

The word "ciborium", in both senses, is said to derive from the cup-shaped seed vessel of the Egyptian water-lily nelumbium speciosum, which is supposed to have been used as a cup itself, and to resemble both the metal cup shape and, when inverted, the dome of the architectural feature, though the Grove Dictionary of Art, the Catholic Encyclopedia and other sources are somewhat dubious about this etymology, which goes back to at least the Late Antique period. An alternative is to derive the word from cibes ("food").Articles on "Ciborium" in works mentioned and OED; the shape of the seed cops of modern varieties of the plant seems very variable. Both senses of the word were in use in classical times.

St. Hyacinth with a monstrance and a statue of Mary, a detail from Three Dominican Saints by Giovanni Battista Piazzetta (1738), in the Gesuati Church, Venice, Italy One of the major miracles attributed to Hyacinth came about during a Mongol attack on Kiev. As the friars prepared to flee the invading forces, Hyacinth went to save the ciborium containing the Blessed Sacrament from the tabernacle in the monastery chapel, when he heard the voice of Mary, the mother of Jesus, asking him to take her, too. Hyacinth lifted the large, stone statue of Mary, as well as the ciborium. He was easily able to carry both, despite the fact that the statue weighed far more than he could normally lift.

The brick façade is sober. The church has a Latin cross layout with chapels at the transept. In the apse is a Renaissance-style tempietto with doric columns supporting an octagonal dome, much like a ciborium. In the arches, except for the facade, are a series of frescoes (1594) by Pier Francesco Renolfi from Novara.

Seven chandeliers are suspended from the ceiling over the main aisle. Beneath the chancel arch stands the high altar, under an ornate baldachin. The ciborium over the high altar bears the Latin words Venite Adoremus Dominum, "Come adore the Lord." Within the sanctuary stands a second, portable, altar, upon which most masses are celebrated.

The altar contains a 15th- century wooden crucifix. At the back, a fresco of the Madonna with St. Petronio by Marcantonio Franceschini and Luigi Quaini, cartoons by Cignani (1672). The ciborium of the main altar was built in 1547 by Jacopo Barozzi da Vignola. The fifteenth-century wooden choir was completed by Agostino de 'Marchi.

Monogram of John II on a marble slab in St. Clement's Basilica Mercurius was born in Rome, son of Praeiectus. He became a priest at St. Clement's Basilica on the Caelian Hill. The basilica still retains memorials of "Johannes surnamed Mercurius". A reference to "Presbyter Mercurius" is found on a fragment of an ancient ciborium.

Grales has been rendered unconscious by the explosion, and may be dying herself. As Zerchi tries to conditionally baptize Rachel, she refuses, and instead takes the ciborium and administers the Eucharist to him. It is implied that she is, like the Virgin Mary, exempt from original sin. Zerchi soon dies, having witnessed an apparent miracle.

The presbytery interior is roofed by a sculpted 12th-century ciborium. In the nave on the right, a polychrome wooden bust represents Pope Saint Clement, whereas on the other side there are interesting remains of frescos. Outside, the stone portal and the façade’s archivolt are both carved in a Romanesque style.Tourism Office of Teramo.

A white marble candelabra has been brought here from San Paolo fuori le Mura.TCI 1965:385. The ciborium, dating to the 16th century, is raised on African marble columns. The spandrels of the arch at the end of the nave retains some of the former mosaics of the time of Leo III, with a central Transfiguration in a mandorla.

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

The 16th-century altar inside has been assigned to Balsimelli da Settignano, using a design by Mino da Fiesole. It has a painting (partially damaged during World War Two of the Assumption of the Virgin by Niccolò Circignani. Beside that altar is a marble font (1502) is by Andrea Sansovino. The Ciborium (1471) was completed by Mino da Fiesole.

Some of the latter are decorated by 14th-century paintings. The basements of the columns are re-used Roman altars. The church houses also 11th-century frescoes, including a Last Supper; also notable is the ciborium, built during the reign of the Lombard king Liutprand (711-744). The bell tower and the cloister are also from the 12th century.

Amongst the numerous objects found in the ruins were two pillars which had supported the ciborium ornamented with sculptures representing the death of the two saints by decapitation. The acts of these martyrs, legendary even to a romantic degree, have no historical value for their life and death. Saints Domitilla, Nereus, Achilleus, by Peter Paul Rubens.

Side door of the Convent of the Holy Sepulchre, Alcoy On 29 January 1568 John Meadows (Joan Prats), a Cloth Shearer, entered his local church and stole a silver ciborium containing forty pieces of sacramental bread, a pyx and a reliquary. He went back to his house and hid the items under a pile of rocks beneath the stairs that led from the stable to the inhabited rooms of his house. Later, after eating all the sacramental bread he broke open the reliquary took out the bag containing the relics he put them all the stolen items in an empty chest. He became worried that the items would be easily found so he wrapped the reliquary and the ciborium in a cloth and buried them in the stables.

No early examples in precious metal have survived, but many are recorded in important churches.Smith & Cheetham, 65; Grove, 1 Possibly the earliest ciborium to survive largely complete is one in Sant'Apollinare in Classe in Ravenna (not over the main altar), which is dated to 806-810,Krouse, 110; Smith & Cheetham, 65 though the columns of the example at Sant'Ambrogio appear to date from the original 4th-century church. The ciborium commissioned by Justinian the Great for Hagia Sophia in Constantinople and described by Paulus Silentarius is now lost. It was also of silver, nielloed, surmounted by "a globe of pure gold weighing 118 pounds, and golden lilies weighing 4 pounds [each], and above these a golden cross with precious and rare stones, which cross weighed 80 pounds of gold".

Along the walls of the aisles are blind arches that enclose blind arcades of half- pillars. The sanctuary is flanked by two transverse arches; the frontal of the altar, surmounted by a Gothic ciborium. There is a bishop's chair, which consists of a parapet of the eighth and ninth centuries. In the right aisle is located a 13th-century octagonal baptismal immersion pool.

A corporal, fully opened The same corporal, folded The corporal (arch. corporax, from Latin corpus "body") is a square white linen cloth, now usually somewhat smaller than the breadth of the altar, upon which the chalice and paten, and also the ciborium containing the smaller hosts for the Communion of the laity, are placed during the celebration of the Catholic Eucharist (Mass).

High Altar The altar has a ciborium with two angels by Benedetto da Maiano (1475–1480), while in the apse is a Death of St. Peter Martyr by Arcangelo Salimbeni (1579) and St. Thomas and the Pope by Galgano Perpignani. The crypt, in Gothic style, can also be visited. It houses a crucifix by Sano di Pietro and a Crucifixion signed by Ventura Salimbeni (1600).

The church after the 1943 bombings Under the dome cladding, in the last span of the nave, is the presbytery with, in its centre, the high altar. This was realized in 824–859 by Volvinius. It features a golden antependium with precious stones on both sides. The altar is surmounted by a contemporary ciborium, commissioned by archbishop of Milan Angilbert II, whence its common name.

The main chapel has several paintings on the life of St. Francis of Assisi and a large gilded altarpiece dating from c.1670 with a picture of Jesus on the cross embracing with one arm Francis Xavier. Behind the altar, visible through an opening thereof, is a carved tabernacle, supported by statues of the Four Evangelists, which was used to display the Blessed Sacrament and the ciborium.

In the Early Christian Church, Holy Communion was not kept in churches for fear of sacrilege or desecration. Later, the first ciboria were kept at homes to be handy for the Last Rites where needed. In churches, a ciborium is usually kept in a tabernacle or aumbry. In some cases, it may be veiled (see photograph below) to indicate the presence of the consecrated hosts.

His ecclesiastical commissions include a line of windows in the north wall of the nave of Westminster Abbey; at St Peter's Church, Huddersfield, baldachino/ciborium, high altar and east window in memory of the dead of the Great War; St Mary's, Wellingborough; St Michael & All Angels, Inverness; the Lady Chapel at Downside Abbey, Somerset; the ciborium and House Chapel extension for the Society of St. John the Evangelist in Oxford (now St Stephen's House, Oxford) and St Cyprian's, Clarence Gate, London; the Lady Chapel at St Matthew's, Westminster; Lady Chapel and gilded paintings in the chancel of All Saints, Margaret Street. He also designed the main building for infants for St Mary & St John School on Hertford Street in Oxford which is now called the Comper Foundation Stage School. In 1936–38 he designed "one of his most famous and original churches": St Philip's Church at Cosham near Portsmouth.

Plan of S. Silvestro Church interior High Altar, commissioned in 1518 by Pier Soderini of Florence It is believed that the high altar, which predates the present church, was influenced by the style of Michelangelo. The interior is rich in marble, gilding, and artistic decoration. The nave has an Assumption with Saints frescoed (1680) by Giacinto Brandi. The main altar carved ciborium or canopy (1667) by Carlo Rainaldi.

The high altar Madonna Advocata (1636) is one of the few paintings in churches attributed to Bernini (perhaps by Santi Ghetti). The ciborium in the apse is made of alabaster and lapis-lazuli. The first excavations of the site also occurred at this date, as commemorated by a relief in the crypt by Cosimo Fancelli. The families of Joseph and Lucien Bonaparte were buried here in the 19th century.

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

The Hajdúdorog Cathedral's altar table has a voluted top resembling to a cloth canopy, therefore the baldachin term was used in the article. 1913 Catholic Encyclopedia: "Ciborium" and Altar Canopy The parish hired Miklós Jankovits to make the original altar table in 1799. He finished all the carving works for the church within 2 years.Terdik (2010) This original structure was altered several times during the last 200 years.

After his arrival the roof was strengthened, the interior was plastered, and a sacristy was added. The sanctuary was later enlarged and its floor raised to allow excavation for a burial crypt. Bishop Hailandière also had a ciborium pulpit, a new high altar with saints' relics, and side altars added to the cathedral. Other additions included stone steps across the front, an enlarged organ gallery, and installation of a new organ.

In 1830 it has been completely demolished and rebuilt and it was subsequently seriously damaged by the earthquake in 1917. It hosts a wooden crucifix and a ciborium in polychrome terracotta from the 15th century and a stone pulpit depicting Hercules killing the Hydra from the 16th century. The Church of San Michele Arcangelo (St. Michael the Archangel) is a little outside the center of town, in the hamlet of Padonchia.

14–15 The central nave terminated in an apse with choir stalls for the monks and the cathedra of the abbot. In the centre rose the ciborium. The lateral naves ended in the prothesis, for the liturgical preparation of the bread and wine, and the diaconicon, for the dressing of the clergy. Attached to the structure, but independent, were two chapel-mausoleums, dedicated to Saint Andrew and to the Virgin Mary.

Before publication of the 1973 Rite of Eucharistic Exposition and Benediction, there was no codification of the rite. However, the guidelines for the Diocese of Rome issued under Pope Clement XII (and hence called the Clementine Instruction) and drawn up by the Cardinal Vicar, Prospero Lambertini (later Pope Benedict XIV), were widely adopted. The rite now in force for the Latin Church requires the use of incense at the beginning of the exposition and before the blessing, if the Blessed Sacrament is exposed in a monstrance, but not if a ciborium is usedCongregation for Divine Worship, Holy Communion and Worship of the Eucharist outside Mass, 93 and 97 (although sometimes this is omitted). Similarly, the priest or deacon, wearing an alb or a surplice, should also put on a cope and use a humeral veil when giving the blessing with the Blessed Sacrament in a monstrance, but the cope is not required when using a ciborium.

The wafers for the communion of the faithful may be stored in a ciborium, or host box (sometimes erroneously referred to as a pyx). The wine and water for the chalice will be in cruets. The chalice, and paten, covered with their cloths and veil (see chalice cloths for details) may be placed on the credence from the beginning of the service until the Offertory, at which time they are moved to the altar.

The style was used in bronze by Bernini for his spectacular St. Peter's baldachin, actually a ciborium (which displaced Constantine's columns), and thereafter became very popular with Baroque and Rococo church architects, above all in Latin America, where they were very often used, especially on a small scale, as they are easy to produce in wood by turning on a lathe (hence also the style's popularity for spindles on furniture and stairs).

The two columns separate two side rooms from the main hall. Remnants of baldachin ribs and uprights in the tracery window that went with the baldachin show that when the ciborium was built in the nave's southeast corner, this window, too, was renovated. The year 1521 that was formerly to be seen on the church might have had something to do with this work. The other two tracery windows were added in 1892.

Above this was a cross holding the "pyxide" which held the ciborium. This altar disappeared in 1744 and a new High Altar was installed, this at the instigation of Monseigneur Jean-Louis de Bouschet de Sourches. It was the work of the Laval atelier of Maurice Pierlet and Honoré Pincé. In 1877, a completely new High Altar was installed this by the goldsmiths Poussièlgue-Rusand based on a design by Canon Brune.

It was dedicated to St Augustine. Lady O'Hagan donated a chalice, ciborium (still at the church) and the present statue of Our Lady. Fr Cahill took as priest over in 1904, but the parish, deemed to be too poor, was closed and made a chapel of ease to St Mary Magdalene's, Gannow. Fr Joyner then took over, but in 1908 the parish was closed again, with the chalice being sent to St Mary's Church.

Carved from black Mouroux marble, the altar was commissioned in 1746 from the Mans architect Henry Villars. Surrounded by two angels the altar has a ciborium which hangs from a carved wooden replica of a palm tree symbolising "Victory" and the "Resurrection". This palm tree is between 5 and 6 metres high and is richly decorated with wheat ears, vine leaves and grapes. The palm tree dates to around 1820 to 1823.

On the ceiling of the central nave are frescoes depicting four episodes of the Old Testament: the Sacrifice of Abraham, Judith and Holofernes, the Good Shepherd, and a Coronation of the Virgin. The interior houses 12 altars. They include a marble Mannerist style statue of the Virgin and a ciborium (1522) by an unknown Tuscan sculptor. The portal decorated with yellow stone, was carved in Renaissance style by a local 16th-century artist.

The ciborium, the most ancient in the region, is also decorated with mosaic; it has four columns with foliage, animals and mythological figures. The crypt, with 26 columns sporting capitals in Byzantine and Romanesque style, houses the relics of Saint Nicholas. The tomb of Saint Nicholas in Bari, as it appears today. In the church there is a Renaissance tomb of the Queen of Poland, Bona Sforza (from the 16th century), from marble.

Retrieved on 21 April 2014. The chapel also includes a solid silver tabernacle, 7 feet tall. It was built in the form of the ancient ciborium that was in use in St George's up to the sixteenth century when it was lost but retrieved again when it was found buried in the old façade of the basilica, some two centuries later."New tabernacle received with praise", Website of St George's Basilica, Malta, 18 July 2007.

The work was moved from the main altar in 1566 to make way for a ciborium designed by Vasari. It was reassembled in the friars' dormitory where it remained until, at some time around the beginning of the 19th century, it was broken up and the surviving parts sold to William Young Ottley, an English collector. Today the panels are scattered in several museums around the world. The National Gallery in London has eleven.

The next chapel (Romei chapel) had a Repose in Egypt by Scarsellino. The next chapel has a Rapture of San Giuseppe da Copertino before Cross by Giuseppe Mazzoni. The side walls of the chapel were frescoed with the Miracles of the Saint by Girolamo Gregori. The chapel of the Ciborium held an altarpiece with a Resurrection of Lazarus by Garofalo; while below the windows are Jesus at Gesthemane and Descent to Limbo by Andrea Bulzoni.

Ferentino Cathedral official website: Vita, Martirio e Culto di Sant'Ambrogio Centurione The restored cathedral was dedicated on 13 June 1108. The cathedral still contains some elements of the 9th-century church and 12th-century mosaics from the studio of the Cosmati. It also has a ciborium from the 13th century, by Trudo de Trivio. The interior contains serpentine columns attributed to Vassalletto and a canvas depicting the Madonna del Parto, attributed to Carlo Dolci.

Metropolitan Museum of Art Ensemble for the celebration of the Eucharist Derrynaflan Paten, part of an 8th- or 9th-century communion set found in County Tipperary, Ireland A paten, or diskos, is a small plate, usually made of silver or gold, used to hold Eucharistic bread which is to be consecrated during the Mass. It is generally used during the liturgy itself, while the reserved sacrament are stored in the tabernacle in a ciborium.

In the 1960s, it was once more decided that the rebuilding of the church should go ahead and Robert Potter was selected as the architect. He reorientated the church so that the altar now faces East. The altar itself is free standing and is set under a ciborium, a four-columned indoor roof. Behind the font is a series of stained glass windows made from fibre glass and designed by John Piper.

The layout is of a single nave with four lateral chapels and ends in a domed apse. The green marble columns flanking the main altar were spolia from Villa Giulia, Rome, sent here by Pope Clement IX. The polychrome main altar, which includes alabaster frames, may have been designed by Bernini. The ciborium or tabernacle is made from precious multicolor stones, including lapis lazuli and metals, and was donated by Pope Alexander VII.Comune of Pistoia, entry on church.

Guastale was liberated in July 1703. The Padovani altarpiece is sheltered at the main altar in a ciborium (1702), the altar scagiola panels has spiralling columns with a triumph of angels by Antonio Maria Ferraboschi and Michele Costa. The large collection of votive offerings displayed in the museum adjacent to the church testifies to the miracles performed. The altar of San Francesco da Paola, erected in 1741 (right arm of the transept) is the work of Pietro Franzini.

The construction of the baldachin, actually a ciborium, which was finished in 1633, required that the original ones of Constantine be moved. During the succeeding century, Solomonic columns were commonly used in altars, furniture, and other parts of design. Sculpted vines were sometimes carved into the spiralling cavetto of the twisting columns, or made of metal, such as gilt bronze. In an ecclesiastical context such ornament may be read as symbolic of the wine used in the Eucharist.

The graceful ciborium over the high altar, which looks out of place in its present surroundings, dates from 1369. The stercoraria, or throne of red marble on which the Popes sat, is now in the Vatican Museums. It owes its unsavory name to the anthem sung at previous Papal coronations, "De stercore erigens pauperem" ("lifting up the poor out of the dunghill", from Psalm 112). From the 5th century, there were seven oratories surrounding the archbasilica.

To the left of the entrance is the funeral monument of Francesco Gaetano Incontri, former archbishop of Florence, who died in 1781. The monument was erected in 1840, with a bust by Aristodemo Costoli and decoration by Mariano Falcini. Below the monument are eight marble intarsia panels, originally part of a 12th-century Tuscan balustrade. Ceiling The main altar, mainly dating from the 19th century, has a marble ciborium with flanking angels (1471) by Mino da Fiesole.

Parts of the current church building actually go back to this time. Judging from the east tower's shape, which is atypical for a Romanesque quire tower, it is likely that the belfry was only later built onto the quire, much like what was done at Hinzweiler. It could also be that the nave only got a ciborium for its altar sometime after 1500, along with a window from that time. There were renovations in 1754 and 1892.

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.

It is a smaller sculpture of the Virgin and Child, which is in wood which was covered with gesso and then thin gold sheet.Beckwith, 150–152 Lasko, 104 Monumental sculpture remained rare in the north, though there are more examples in Italy, such as the stucco reliefs on the ciborium of Sant' Ambrogio, Milan, and also on that in San Pietro al Monte, Civate, which relate to ivory carving of the same period,Beckwith, 132 and some stone sculpture.

The bells are also rung when the monstrance or ciborium is exposed or processed, for example when moving the reserved Sacrament from a side altar to the high altar. Custom differs concerning its use at Low Mass, or during Lent and Holy Week. In some churches, particularly in the Anglo-Catholic tradition, a large (and sometimes decorated) gong, struck with a mallet, may be used during the celebration of mass as an alternative to the altar bell.

The archbishop Natale Bruni is buried in the first chapel on the left, a medallion with his visage was completed by Giuseppe Graziosi. The altar on the right is dedicated to the Madonna of Lourdes and was carved by the sculptor Vigni of Florence. The main altar has a ciborium in part work of the brothers Pedrazzi. To the left of the entrance is the baptistery, the bronze statue of St John the Baptist was sculpted by Graziosi.

After the suppression of the religious orders in 1808, the ornate main altar completed by Dionisio Lazzari was transported to the Capella Reale of the Royal Palace of Naples, where it still can be found. The altar started in 1672, has two carved lateral doors (1691), a ciborium (1772), all in polychrome pietre dure and lapis lazuli and framed in gilded bronze. In this church, the replacement altar (1772–1773) derives from the church of Divino Amore.

The basilica was stripped over time of its precious marbles and columns for use as building materials elsewhere. Some art historians maintain that these materials included the four carved alabaster columns that form the ciborium over the high altar in Saint Mark's Basilica.Caprin, L'Istria nobilissima, p. 23Morassi, La chiesa di Santa Maria Formosa..., p. 13 The tradition narrates that they were taken from Santa Maria del Canneto during the reign of Doge Jacopo Tiepolo (1229–1249).

When Cosimo was exiled from Florence, Donatello went to Rome, remaining until 1433. The two works that testify to his presence in this city, the Tomb of Giovanni Crivelli at Santa Maria in Aracoeli, and the Ciborium at St. Peter's Basilica, bear a strong stamp of classical influence. Donatello's return to Florence almost coincided with Cosimo's. In May 1434, he signed a contract for the marble pulpit on the facade of Prato cathedral, the last project executed in collaboration with Michelozzo.

The church has a marble ciborium (1518), attributed to Andrea da Fiesole, and a statue of the Archangel St. Michael attributed to the studio of Francesco Laurana.Comune of Castellammare di Stavia, citing works by E. Valcaccia, including La città di Stabia e San Catello suo Patrono. Edizione integrata aggiornata e illustrata dell’omonima opera di G. Lauro Aiello, Castellammare di Stabia 2007; and Venite adoremus Dominum! Le rappresentazioni presepiali nei dipinti delle chiese di Castellammare di Stabia, Castellammare di Stabia, 2009.

The Iconostasis (altar screen), the holy altar, the ciborium, the pontifical throne, the pulpit, mobile shrines adoring the left and the right of the church entrance and the canopy epitaph are now in the Byzantine museum of the church for safe keeping, these artifacts belonged to the original church from the 1700s. The woodcraft reassembled in the church are evidence of the early construction of the church. It is demonstrated in church archives. The wood has elaborate carvings and religious motifs.

Frescoes depict a Madonna del Latte (14th century) by the Maestro di Offida and an Enthroned Madonna and Child (1298). A number of the lateral altars were erected in the 18th century using travertine marble. The main altar has a gilded wood tabernacle from the 16th century shaped like an octagonal ciborium. The church houses a marble sculptural group (17th-century) depicting a Madonna and Child with St Thomas the Apostle and St John the Evangelist sculpted by Lazzaro and Giuseppe Giosafatti.

The ancient Greek word referred to the cup-shaped seed vessel of the Egyptian water-lily nelumbium speciosum and came to describe a drinking cup made from that seed casing, or in a similar shape. These vessels were particularly common in ancient Egypt and the Greek East. The word "'ciborium'" was also used in classical Latin to describe such cups, although the only example to have survived is in one of Horace’s odes (2.7.21–22).Horace, Odes II: Vatis Amici, tr.

The lamb symbolizes the good shepherd, which is the duty of the priests; and it refers to the revelation too, reminding the priests to the importance of the strong faith.Sz. Kürti (1989) p. 4-5 The side altar with Révész' Rembrandt replica, the Descent from the Cross The central element of the sanctuary is the altar table with its carved baldachin.The article here followed the terms of the Catholic Encyclopedia, where only the cup shaped, robust altar covers are called ciborium.

Other objects are in museums around the world. The most valuable items auctioned in a two-day sale at Christie's in 1908 were a 12th century ciborium, which raised £6,000, now at The Morgan Library & Museum, and a 16th century mazer bowl, which went for £2,300. Braikenridge played an important role as a patron of the Bristol School of artists. Only three other consistent patrons of the school have been identified, namely the industrialists John Gibbons, Daniel Wade Acraman and Charles Hare.

According to Upton, in Christus's Nativity Joseph assumes Moses's role of protector and law-bringer; just as Joseph has removed his pattens in the presence of Christ, Moses removed his shoes in the presence of the bush. The setting represents the Mass – the angels are clothed in Eucharistic vestments, with those on the far right dressed in a deacon's cope.Ainsworth (1994), 158 None wear the celebrant's chasuble, suggesting Christ is the priest. The shed roof is a ciborium over an altar.

The long, broad nave is covered with a barrel vault decorated with colorfully painted trompe l'oeil coffers. A free-standing ciborium, another feature typical of Lombard Romanesque churches, protects the marble high altar on which the tabernacle rests. In 1973, changes were made to the interior in keeping with Vatican II standards, and in 1995–1996, the cathedral was restored and cleaned, including the murals and stained glass. A new pulpit, altar, lectern and font designed by Tracy R. Stephens were added.

Horne Church pulpit. Beside the original granite baptismal font now situated within the entrance porch is an intentionally uncomfortable bench called the "kællingbænken", or "hags' bench". The present baptismal font is believed to be the work of Bertel Thorvaldsen; however, the font was loaned out in the early 20th century, and no one is able to tell whether the Thorvaldsen font was returned or a similar one from Svanninge. Other yet older treasures of the church are the ciborium from 1639 and the chalice from 1676.

The ciborium is supported by four massive red granite columns. It opens up into four pointed arches, crowned with gables and flanked by pinnacles with statues of saints in their niches. The cross vault is painted with allegorical representations of the four cardinal virtues, while the Holy Spirit, in the form of a dove, is portrayed on the boss. In the spandrel on the front, one can see a mosaic of the Blessed Virgin Mary in her title as the Immaculate Conception, trampling on a snake.

King Manuel also opened the Parish Hall in Radnor Road in December 1927. After the King's death in 1932, the parish acquired various sacred vessels including silver cruets, a ciborium embossed with the King's monogram and a baptismal shell. Queen Victoria Augusta also gave the parish the organ, which the King had played in his house.Malcolm Howe, Dom Manuel II of Portugal, his life and Reign (London, 2009), p 69 The organ became unusable in the 1980s and had to be partially taken part.

The double order of Corinthian columns on the facade provide a classic example of carved Acanthus leaves in the capitals. Sculptor Ignazio Marabitti contributed the full-length statues on the facade. The interior of the church, a nave and two aisles, combine rustic walls and Baroque details. Features include a font with marble basin dating from the 12th or 13th century, a ciborium (an altar canopy) designed by architect Luigi Vanvitelli, and a statue of the Madonna della Neve ("Madonna of the Snow", 1512) by Antonello Gagini.

The remains of other structures, as well as the late antique and early Croatian cemetery have been discovered close to the ruins. Excavated sarcophagus Numerous fragments of pleter from the 9th and the 10th centuries have been found as well. Interesting are the parts of the altar partition, pediments and beams, and particularly the reconstructed quadrilateral ciborium (today kept at the Museum of Croatian Archaeological Monuments in Split) with part of an inscription. Six stone lintels have also been found in the vicinity of the church.

On the left arm of a Latin cross are two other chapels that of the St. Sacramento containing the statue of the Sacred Heart and the other of St. Joseph. The presbytery has a high altar with ciborium, set on a marble base with three steps, surmounted by a canopy supported by four red marble columns with Corinthian capitals, octagonal pyramid in two sections held up a total of 48 columns of the same marble, very similar to that in the Basilica of San Nicola di Bari.

Fronting the atrium is the chaste facade of Carlo Stefano Fontana (nephew of Carlo Fontana), supported on antique columns, and his little campanile (illustration). The basilica church behind it is in three naves divided by arcades on ancient marble or granite columns, with Cosmatesque inlaid paving. The 12th-century schola cantorum (E on plan) incorporates marble elements from the original basilica. Behind it, in the presbytery is a ciborium (H on plan) raised on four gray-violet columns over the shrine of Clement in the crypt below.

Built as an elongated decagon, the church had a lighter and graceful look. The square central space was surrounded by elliptical side aisles supported by columns. The wooden pulpit dated from 1737, while the tassel-decorated organ was made in 1739. The central archive in Berlin of the Evangelical Church in Germany contains artifacts from the church, including a gilded silver goblet (1690 by Paul Müller), a copy of the goblet (1749 by Cornelius Muerkerk), and a gilded ciborium of silver (1699 by Paul Müller).

The fifth chapel houses the main altar with a silver ciborium made by Benedetto Petrucci, and donated by the Torrigiani family. Near the choir is a large stone tabernacle with a bronze crucifix by Francesco Susini, patronized by Prince Lorenzo de' Medici, son of Ferdinando I. The cupola is frescoed by Pietro Galletti. The sixth chapel houses an oil painting on canvas depicting the Invention of the Cross painted by Matteo Rosselli. Two other paintings and the frescoes are by Bilibert and by Vignali.

Many Catholic families make a donation to the priest in honor of the dead family member. The donation is usually money, but in some cases the family may donate a vestment, Communion ware, i.e. a chalice, a ciborium, and a pyx for the priest to use in his services or for a missionary priest who needs things for his ministry. In the United States, many funeral homes add the stipend for the priest to the funeral bill and then hand this on to the priest.

In the presbytery are choir stalls, executed in Gothic style by 15th century master Matej Morozan; above the main altar is the early Gothic ciborium from 1322, while beyond it is a stone seat made for the Archbishop. On the northern wall of the marble altar are pictures of St. Dominic and the Sacred Heart. The altar was transferred from the eponymous church. The second altar is dedicated to the souls in Purgatory and was built by the Venetian stonemason Peter Onega in 1805.

The Sizun ossuary The ossuary chapel is located in the western part of the cemetery, and was built between 1585 and 1588. The ossuary door has decorated, fluted columns topped with Corinthian capitals on either side, and over this door is an entablature with the Rohan coat of arms in a triangular pediment and a small statue of Saint Suliau. Outside of the pediment are 1588 depictions of the Franciscans, Saint Francis of Assisi and Saint Anthony of Padua. Saint Francis shows his stigmata and Saint Anthony holds a chalice or ciborium.

The permanent memorial took the form of the Church of the Savior on Blood. Construction began in 1883 under Alexander III, and was completed in 1907 under Nicholas II. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination. It is embellished with topaz, lazurite, and other semi-precious stones, making a striking contrast with the simple cobblestones of the old road, which are exposed in the floor of the shrine.

He further restored the Basilica di Sant'Ambrogio where he built the Ciborium which columns are still visible. Lawrence took a stand in favor of the legitimacy of the election of Pope Symmachus against the claims of the Antipope Laurentius, the latter supported by the Miaphysite Byzantine Emperor and near to Monophysite positions. Lawrence gave financial support to Symmachus, and in 502 he, along with Peter bishop of Ravenna, presided over a synod in Rome which confirmed Symmachus' right to the papacy. He participated also to the consecration of the Basilica Apostolorum in Novara.

Sacristies usually contain a special wash basin, called a piscina, the drain of which is properly called a "sacrarium" in which the drain flows directly into the ground to prevent sacred items such as used baptismal water from being washed into the sewers or septic tanks. The piscina is used to wash linens used during the celebration of the Mass and purificators used during Holy Communion. The cruets, chalice, ciborium, paten, altar linens and sometimes the Holy Oils are kept inside the sacristy. Sacristies are usually off limits to the general public.

His basin for the Blessing of Holy Water was later transferred to the chapel of San Giovanni. Pillars with angels and the altar The marble high altar of the presbytery was built in 1532 by Baldassarre Peruzzi. The enormous bronze ciborium is the work of Vecchietta (1467–1472, originally commissioned for the church of the Hospital of Santa Maria della Scala, across the square, and brought to the cathedral in 1506). At the sides of the high altar, the uppermost angels are masterpieces by Francesco di Giorgio Martini (1439–1502).

The basket capitals of the building are carved with monograms of the names Justinian () and Thedora () and their imperial titles "" and "". Earthquakes in August 553 and on 14 December 557 caused cracks in the main dome and eastern semi-dome. According to the Chronicle of John Malalas, during a subsequent earthquake on 7 May 558, the eastern semi-dome fell down, destroying the ambon, altar, and ciborium. The collapse was due mainly to the unfeasibly high bearing load and to the enormous shear load of the dome, which was too flat.

After the demise of the Eleusinian Mysteries, Demeter's cult, in the 4th century, the Greek rural population had gradually transferred her rites and roles onto the Christian saint Demetrius. Most scholars still believe that for four centuries after his death, Demetrius had no physical relics, and in their place an unusual empty shrine called the "ciborium" was built inside Hagios Demetrios. What were purported to be his remains subsequently appeared in Thessaloniki, but the local archbishop John, who compiled the first book of the Miracles ca. 610, was publicly dismissive of their authenticity.

Bernini's "Baldacchino" in St Peter's, Rome Pope Urban VIII commissioned Gian Lorenzo Bernini to design and construct a large structure that would be placed over the main altar, believed to be above the tomb of Saint Peter, in the new St. Peter's Basilica. The canopy imitated cloth in bronze, as did many subsequent imitations. This famous and spectacular feature is generally called the "Baldacchino", though strictly it is a ciborium. Bernini's design for the Baldacchino incorporated giant solomonic columns inspired by columns that ringed the altar of the Old St. Peter's.

Pompeo Targone (1575 — ca. 1630), son of a Venetian goldsmith, was an Italian engineer in the service of popes Clement VIII and Paul V. He built the ciborium tabernacle in the Blessed Sacrament chapel of the Archbasilica of St. John Lateran, and one of the altars in the Basilica di Santa Maria Maggiore.Giovanni Baglione, Le vite de' pittori, sculturi et architetti (Rome, 1642), 329-331. Targone gained notoriety for his inventiveness as a military engineer in the Siege of Ostend (1604) and the Siege of La Rochelle (1627-1628).

The right side of the transept lost its frescoes after the 17th century reconstruction, while the left section had frescoes of the Apocalypse with, below, a procession of prophets and Old Men who raise veiled golden cups and march towards the Lamb of God. Other scenes includes the death of St. Anastasius and the Archangel Michael calling Anastasius The high altar is surmounted by a ciborium decorated with a Cosmatesque cross and four columns. Of the Schola Cantorum, only the ambo survives today. The transept and part of the nave feature a Cosmatesque pavement.

Paradis produced many silver pieces of religious significance. In 1739, he produced a "ciborium for the Eucharist" for the parish of Saint-Charles-de-Lachenaie. He crafted pieces for the church of Sainte-Anne-de-Varennes in 1742 and for the church of Saint-François-de-Sales in 1745 (in the modern-day Saint-François district of the city of Laval, not to be confused with the Saint-François-de-Sales, Quebec in Saguenay–Lac-Saint-Jean). Paradis stamped his work with the letters "RP" beneath a crown.

The west front In 1904–05 Bournemouth architect G. A. B. Livesay built the eastern end of the church, establishing a Byzantine style in brick and terracotta which was followed sympathetically by the later architects. The chancel has a semi-domed apse and a semicircular ambulatory. It contains a ciborium built over the crypt, evoking the Basilica of San Clemente in Rome. The church was completed by the Arts and Crafts architect Edward Schroeder Prior, in collaboration with Arthur Grove who seems to have concentrated on the finer detailing.

By 1775-1776, he had completed the polychrome wooden statue of St. Francis Xavier for the church of San Rocco in Bergamo. Between 1766 and 1788, he carved the statues of Virtue and of angels, which decorate the ciborium of the altar of the chapel of the Holy Sacrament (completed by his brother Bernardino in the abbey church of Montichiari). In 1790 he created a model of the statue of the Assumption, later completed by Possenti for the Duomo Nuovo. Giambattista's portrait by Santo Cattaneo is kept at the University of Brescia.

Without door valves, the three large arches were decorated with angels and foliage and framed the ciborium and altar at the end of the nave. Prophets and apostles form the columns and jambs welcoming pilgrims inside the church. Mestre Mateo inside the church on the opposite side of St. James Though the portal was originally poly-chromed, the numerous traces of the remaining paint seen today are due to later interventions. Records show that the portico was repainted often with contracts surviving from the fifteenth and seventeenth centuries.

Michael Shiell OFM, Guardian of Killeigh, fl. 1693-98\. Shiell was a member of the Ó Siadhail family of Kingdom of Uí Failghe, who were prominent County Offaly and County Laois in the late medieval/early modern era. Shiell was a member of the Franciscan order, and became the guardian of the Franciscan friary at Killeigh, County Offaly, in 1693. In 1698, eight individuals signed a document acknowledging that they had received chalices, pyxes, cups, an oil box, ciborium, a bell and vestments of the friary for safekeeping.

Henry II, enthroned (fol. 11v) Throne image of Charles the Bald in the Codex Aureus of St Emmeram After the coronation image comes the image of Henry II enthroned, framed by a 3D meander. In this image the king is depicted facing the viewer, sitting on a box-shaped, golden throne studded with gems under a massive Ciborium which is supported by four pillars and should be understood as a metaphor for heaven. The king's clothing is even more luxuriantly decorated than in the coronation image, with large appliqués; the crown however lacks a hoop.

The Albert Memorial, directly north of the Royal Albert Hall in Kensington Gardens, London, was commissioned by Queen Victoria in memory of her beloved husband Prince Albert, who died in 1861. Designed by Sir George Gilbert Scott in the Gothic Revival style, it takes the form of an ornate canopy or pavilion tall, in the style of a Gothic ciborium over the high altar of a church,Risebero, Bill, Modern Architecture and Design: An Alternative History, p. 91, MIT Press, 1985, , . sheltering a statue of the prince facing south.

The two works that testify to his presence in this city, the Tomb of Giovanni Crivelli at Santa Maria in Aracoeli, and the ciborium at St. Peter's Basilica, bear a strong stamp of classical influence. Brunelleschi also returned several times to find inspiration for what was the Renaissance art.Elena Capretti, Brunelleschi, Giunti Editore, Florence 2003, p. 22–23. While in Florence, Masaccio, first great Italian painter of the Quattrocento, became friends with Brunelleschi and Donatello, and at their prompting in 1423 travelled to Rome, along with his mentor Masolino.

Inside, illuminated by tall and narrow Gothic windows, there are only few remains of the original frescoed decoration, the work of Maso di Banco and a ciborium of Iacopo della Pila, dated to the end-15th century. However, there are also other 14th century frescoes from the Castle of Balzo at Casaluce. The frescoes that occupy the right wall of the chapel, however, are made by Maso di Bianco and present references to the Gothic-Anjevin culture. Those on the left wall, however, are from other Florentine artists.

In 1950, as part of the post-war restoration, the two sections were reassembled above the tomb in its present location. Tomb of Archduke Maximilian III of Austria Acting as a type of ciborium, the canopy consists of four turned bronze columns, adorned with vine leaves, birds, and small animals. The columns, which have fluted bases and finely cut composite capitals, support a heavy profiled marble entablature, which serves as both an abacus and as a stand for the group of four bronze figures. Dressed in armour, a bareheaded Archduke Maximilian kneels on a cushion with his hands folded in prayer.

The monument at the left of the entrance, dedicated to Cardinal Giovanno Jacopo Millo was completed by Carlo Marchionni and Pietro Bracci. Along the right side of the nave are the remains of frescoes, including a Santa Francesca Romana and a Crucifixion, attributed to Paolo Guidotti and transferred from the Church of Saints Barbara and Catherine. The nave also displays a painting of Three Archangels by Giovanni da San Giovanni and a Trinity and Angels by Giacinto Gimignani, while the altar has a Guardian Angel by Ludovico Gimignani. The presbytery and ciborium (or baldachin), created by Soria, are surrounded by four alabaster columns.

The church was commissioned in the 12th century after the Reconquista of the town by Alfonso I el Batallador. Initially likely of Romanesque design, only traces of that church remain above the portal and in the baptismal font. In town, this church rivaled that of the Colegiata of Santa María for veneration and attention. Documents from 1456, note that Farax and Brahem, both surnamed el Rubio (the Blond) and both Moors, signed a contract with the parishioners of the church of San Juan de Vallupie to make ciborium, no longer extant, that was to resemble that of the church of San Andrés.

The Dome of the Rock in Jerusalem The Dome of the Rock in Jerusalem, the earliest surviving Islamic building, was completed in 691 by Umayyad caliph Abd Al-Malik. Its design was that of a ciborium, or reliquary, such as those common to Byzantine martyria and the major Christian churches of the city. The rotunda of the nearby Church of the Holy Sepulchre, in particular, has a similar design and almost the same dimensions. The building was reportedly burned in the eleventh century and then rebuilt, which would still make it one of the oldest timber buildings in the world.

10th-century gold and enamel Byzantine icon of St Michael, in the treasury The eastern arm has a raised presbytery with a crypt beneath. The presbytery is separated by an altar screen formed by eight red marble columns crowned with a high Crucifix and statues by Pier Paolo and Jacobello Dalle Masegne, masterpiece of Gothic sculpture (late 14th century). Behind the screen, marble banisters with Sansovino's bronze statues of the Evangelists and Paliari's of the Four Doctors mark the access to the high altar, which contains St Mark's relics. Above the high altar is a canopy ("ciborium") on columns decorated with fine reliefs.

At the end of the nave is a 19th-century ciborium, inspired by that in the Basilica of San Nicola at Bari. Of the chapels added in Baroque or later styles, only two survive: the Chapel of the Sacred Heart (19th-century) and the Chapel of the Holy Sacrament. Artworks include the wooden statue of Saint Blaise, Ruvo's patron saint (16th-century), the silver relic case of the same saint, a panel of the Virgin of Constantinople and a 16th-century wooden crucifix. There are also traces of frescoes, executed by Marco Pino's workshop, depicting the Flagellation of Christ.

In the chancel's dome are four medallions depicting Dominican saints surrounded by a multitude of putti, all possibly also by Cafà, and the fresco The Glory of the Eternal Father by Francesco Rosa in the lantern. The decoration of the chancel was completed in the 18th century with the marble reliefs of St Rose of Lima and St Agnes of Montepulciano by Pietro Bracci on the side walls (1755). The tabernacle in the shape of a ciborium, made from lapis lazuli, agate, and gilded bronze, and the high altar on which it sits was designed in 1785 by the architect Carlo Marchionni.

The Essen cross with large enamels with gems and large senkschmelz enamels, c. 1000 Stucco relief on the ciborium at Civate. Ottonian art is a style in pre- romanesque German art, covering also some works from the Low Countries, northern Italy and eastern France. It was named by the art historian Hubert Janitschek after the Ottonian dynasty which ruled Germany and northern Italy between 919 and 1024 under the kings Henry I, Otto I, Otto II, Otto III and Henry II. With Ottonian architecture, it is a key component of the Ottonian Renaissance (circa 951–1024).

1320) stated that the monastery had 12 friars from the order of the hermits at the time. Idealized depiction of Rome from the 1493 Nuremberg Chronicle, with the Santa Maria del Popolo circled in red.In his bull Dum praecelsa Pope Boniface IX on 30 August 1400 granted a special indulgence to those who offered alms for the construction of a new tabernacle above the miraculous image of the Virgin. A marble relief depicting the Coronation of the Virgin (now preserved in the sacristy corridor) could have been part of a Gothic ciborium or cella built for the icon after that papal concession.

Bernini's first work at St. Peter's was to design the baldacchino, a pavilion-like structure tall and claimed to be the largest piece of bronze in the world, which stands beneath the dome and above the altar. Its design is based on the ciborium, of which there are many in the churches of Rome, serving to create a sort of holy space above and around the table on which the Sacrament is laid for the Eucharist and emphasizing the significance of this ritual. These ciboria are generally of white marble, with inlaid coloured stone. Bernini's concept was for something very different.

Certain branches of Christianity, including the Eastern Orthodox Church, and the Ethiopian Orthodox Church continue to have a tradition of a Holy of Holies which they regard as a most sacred site. The ciborium, a permanent canopy over the altar in some churches, once surrounded by curtains at points in the liturgy, symbolizes the Holy of Holies. Some Christian churches, particularly the Catholic Church, consider the Church tabernacle, or its location (often at the rear of the sanctuary), as their symbolic equivalent of the Holy of Holies, due to the storage of consecrated host in that vessel.

Brother Joshua and the space- trained monks and priests depart on a secret, chartered flight for New Rome, hoping to leave Earth on the starship before the cease-fire ends. During the cease-fire, the abbey offers shelter to refugees fleeing the regions affected by fallout, which results in a battle of wills over euthanasia between the abbot and a doctor from a government emergency response camp. The war resumes, and a nuclear explosion occurs near the abbey. Abbot Zerchi tries to flee to safety, bringing with him the abbey's ciborium containing consecrated hosts, but it is too late.

Putting on a black cope and simple mitre, the bishop recites certain prayers for the deceased bishops of the diocese. The procession then proceeds to the cemetery if nearby, otherwise to some convenient place in the church where a catafalque shall have been erected: there prayers are offered for all the faithful departed. The ceremony is terminated on returning to the sanctuary by still another prayer for the dead. White vestments being substituted for black, the bishop examines the tabernacle and contents (blessing the people with the ciborium), altars, baptismal font, sacred oils, confessionals, relics, sacristy, records, cemetery, edifices, etc.

Directly under the center of the dome is the ambo, from which the Scriptures were proclaimed, and beneath the ambo at floor level was the place for the choir of singers. Across the eastern side of the central square was a screen which divided off the bema, where the altar was situated, from the body of the church; this screen, bearing images, is the iconostasis. The altar was protected by a canopy or ciborium resting on pillars. Rows of rising seats around the curve of the apse with the patriarch's throne at the middle eastern point formed the synthronon.

It contains a fine ciborium in the Cosmatesque style and a 12th-century mosaic pavement. The Gothic church of Santa Maria Maggiore, in the lower town (13th-14th century), has a very fine exterior; the interior, the plan of which is a perfect rectangle, has been spoiled by restoration. Other religious edifices include the Benedictine church of San Valentino (mostly remade after World War II, but still including 13th-century frescoes) and the Romanesque monastery of Sant'Antonio Abate, which housed the remains of Pope Celestine V until 1327. The latter's heart is preserved in the small convent church of the Clarisse (17th century).

Among the many pupils and assistants were Ambrogio Besozzi, Camillo Gabrielli, Marziale Carpinoni, Filippo Maria Galetti, Benedetto Luti, Giovanni Battista Marmi, Pietro Montanini, Giuseppe Nasini, Giovanni Odazzi, Tommaso Redi, and Urbano Romanelli. Ciro Ferri became a member of the Accademia di San Luca on 3 June 1657. His ciborium for the high altar of Santa Maria in Vallicella is a masterpieces of 17th-century bronze decorative sculpture. He continued under the patronage of the Medici, when together with the sculptor Ercole Ferrata, Ferri the painter led the Medici Academy in Rome, established in 1673 by Grand Duke Cosimo III of Tuscany.

Under the ciborium of di Cambio that shelters the main altar, is a glass case enclosing the white marble sculpture of St Cecilia (1600) by the late-Renaissance sculptor Stefano Maderno. A marble slab in the pavement in front of the case, quotes Maderno's sworn statement that he has recorded the body as he saw it when the tomb was opened in 1599. The statue depicts the three axe strokes described in the 5th-century account of her martyrdom. It also underscores the incorruptibility of her cadaver (an attribute of some saints), which miraculously still had congealed blood after centuries.

Village chief - Museo archeologico nazionale di Cagliari Here were also found the probable remains of an Etruscan necklace consisting of elements of amber with a rectangular outline and an oval section, decorated with transverse ribs ascribed to the Final Bronze, around the beginning of the ninth century BC. Also of Etruscan origin were a double- foil silver disc adorned with studs, attributed to the period 700-675 BC and possibly a ciborium cover or a reproduction of a miniature shield, and several bronze sheet vases, reduced to fragments by the fire that devastated the site in Roman times.

In the transept is a Coronation of Mary by the Cavaliere d'Arpino, who also painted the first altarpiece (Presentation in the Temple) on the right. In the right presbytery, is the Spada family chapel completed in 1593 by Rainaldi. Inside, a Madonna with Child and Santi Carlo Borromeo and Ignazio di Loyola (1675) was painted by Maratta. In the central presbytery, the bronze ciborium was designed by Ciro Ferri in 1681. The Virgin with child and two lateral paintings, Santi Domitilla, Nereo and Achilleo, Santi Gregorio Magno, Mauro and Papia (1606-08) are among the few works painted by Peter Paul Rubens created specifically for a Roman commission.

The narrow interior nave contains notable works of art dating to the 17th century refurbishment, including a fresco (1699) by Alessandro Gherardini; a Glory of St Jospth and a Baptism of Christ by Onorio Marinari; and a barrel-vaulted ceiling fresco depicts St Peter in Glory with Faith, Hope, and Charity by Baldassarre Franceschini called il Volterrano. The ciborium, made of pietra serena, was sculpted in the 15th century. In the transept is housed a 13th-century tempera on wood painting depicting the Madonna and Child by the artist called the Master of Varlungo, a putative pupil of Cimabue.Metropolitan Museum Collections, entry on a Madonna and Child Enthroned with Angels.

The actual benediction or blessing follows exposition of the Blessed Sacrament, i.e., the placing of the consecrated Host in a monstrance set upon the altar or at least exposition of a ciborium containing the Blessed Sacrament.John A. Hardon, "Eucharist, Worship and Custody" Thus "the blessing with the Eucharist is preceded by a reasonable time for readings of the word of God, songs, prayers, and a period for silent prayer", while "exposition merely for the purpose of giving benediction is prohibited".Congregation for Divine Worship, Holy Communion and Worship of the Eucharist outside Mass, 89 The readings, songs and prayers are meant to direct attention to worship of Christ in the Eucharist.

The first church was built around the 6th century on the ruins of a temple dedicated to Castor and Pollux. There is a reference to a larger church dedicated to the Virgin Mary (Ecclesia Sanctae Matris) in 1037, a few years after the synod held by Pope John XIII in 969, which was attended by the first bishop of Termoli. Some remains have been discovered, under the extant church, of an 11th-century basilica. The present Romanesque building was constructed in the 12th and 13th centuries on the site of its predecessors, and is attributed to Alfano of Termoli, perhaps the same who made the ciborium in Bari Cathedral.

The ciborium arose in the context of a wide range of canopies, both honorific and practical, used in the ancient world to cover both important persons and religious images or objects.Grove, Introduction Some of these were temporary and portable, including those using poles and textiles, and others permanent structures. Roman emperors are often shown underneath such a structure, often called an aedicula ("little house"), which term is reserved in modern architectural usage to a niche-like structure attached to a wall, but was originally used more widely. Examples can be seen on many coins, the Missorium of Theodosius I, the Chronography of 354, and other Late Antique works.

Lasko, 64–65, 66–67; picture of the dish Recent scholars tend to group the Lindau Gospels and the Arnulf Ciborium in closer relation to each other than the Codex Aureus to either. Charlemagne revived large-scale bronze casting when he created a foundry at Aachen which cast the doors for his palace chapel, in imitation of Roman designs. The chapel also had a now lost life-size crucifix, with the figure of Christ in gold, the first known work of this type, which was to become so important a feature of medieval church art. Probably a wooden figure was mechanically gilded, as with the Ottonian Golden Madonna of Essen.

The original flat roof was later replaced with a shallow- pitched concrete roof. The foundation stone was blessed by Cardinal William Godfrey on 7 April 1962, and the first Mass was held on 21 February 1963. Several church furnishings from the old church were moved into the new including the holy water font, the ciborium (removed in the renovations of 2007) and the four stained-glass windows and stone tablet dedicated to Fortescue. Also moved from the old church was the distinctive square alabaster baptismal font designed by Spooner which stands on stone columns and has the inscription ORATE PRO ANIMA EDMONDI FAVRIEL TREVELYAN DEF.

His marble portrait bust by Bernini was not considered a good likeness and was banished to a passageway."Le petit cabinet de passage pour aller à l'appartement vert" (Bonnaffé :10). The fittings of his chapel in the Palais-Cardinal, for which Simon Vouet executed the paintings, were of solid gold – crucifix, chalice, paten, ciborium, candlesticks – set with 180 rubies and 9,000 diamonds.Bonnaffé :16 His taste also ran to massive silver, small bronzes and works of vertu, enamels and rock crystal mounted in gold, Chinese porcelains, tapestries and Persian carpets, cabinets from Italy, and Antwerp and the heart-shaped diamond bought from Alphonse Lopez that he willed to the king.

The distinct symbolism of the heavenly or cosmic tent stemming from the royal audience tents of Achaemenid and Indian rulers was adopted by Roman rulers in imitation of Alexander the Great, becoming the imperial baldachin. This probably began with Nero, whose "Golden House" also made the dome a feature of palace architecture. The dual sepulchral and heavenly symbolism was adopted by early Christians in both the use of domes in architecture and in the ciborium, a domical canopy like the baldachin used as a ritual covering for relics or the church altar. The celestial symbolism of the dome, however, was the preeminent one by the Christian era.

An enormous bronze ciborium, created by Vecchietta for the Hospital of Santa Maria della Scala (c. 1467-72), was moved to the Cathedral of Siena in 1506. According to Vasari, "This casting, which is admirable, acquired very great fame and repute for him by reason of the proportion and grace that it shows in all its parts; and whosoever observes this work well can see that the design is good, and that the craftsman was a man of judgment and of practised ability."Vasari, "Vite" Between 1447 and 1450, a series of frescoes were completed for the Baptistry of San Giovanni at Siena Cathedral, executed by Vecchietta and his pupils.

Some of the few places the Goths spared were the two major basilicas connected to Peter and Paul, though from the Lateran Palace they stole a massive, 2,025-pound silver ciborium that had been a gift from Constantine. Structural damage to buildings was largely limited to the areas near the old Senate house and the Salarian Gate, where the Gardens of Sallust were burned and never rebuilt.Peter Heather, The Fall of the Roman Empire: A New History of Rome and the Barbarians, (Oxford University Press, 2006), pp.227–228.Jeremiah Donovan, "Rome, Ancient and Modern: And Its Environs" Volume 4, (Crispino Puccinelli, 1842), page 462.

The church of Santa Maria in Porclaneta Valley dates back in the time, though the earliest attestations refer to the XI century, when the monastery passed under the jurisdiction of Montecassino Abbey. The plan of the church consists of a single hall concluding in an apse; before the entrance there is a pronaos, which used to lead to the monks' rooms, now collapsed. Inside the church preserves a pulpit and a ciborium dated 1150church guide (Marco), both attributed to the master Nicodemo; furthermore, there are the remains of the iconostasis that used to separate the presbytery from the hall reserved to the congregation, painted with valuable frescoes.

Façade of the church San Pietro is a Romanesque and Gothic-style, Roman Catholic church just outside Tuscania, in the province of Viterbo, in the region of Lazio, Italy. The façade has a large rose window, decked with mosaics, hedged at the corners by the symbols of the Four Evangelists, and flanked by reliefs with elaborate carvings of plants, a menagerie of animals, and a complex iconography of saints and figures of the Old Testament. Below is a loggia and on the ground is a sculpted main portal with a large rounded arch. The nave is flanked by rounded Romanesque arches and leads to a chancel with a ciborium over the main altar.

The tsar, bleeding heavily, was taken back to the Winter Palace, where he died a few hours later. A temporary shrine was erected on the site of the attack while plans and fundraising for a more permanent memorial were undertaken. In order to build a permanent shrine on the exact spot where the assassination took place, it was decided to narrow the canal so that the section of road on which the tsar had been driving could be included within the walls of the church. An elaborate shrine, in the form of a ciborium, was constructed at the end of the church opposite the altar, on the exact place of Alexander's assassination.

This sumptuous structure was arranged in four registers with an apex. It was decorated with 14 paintings by the celebrated Basque painter Baltasar de Echave Orio (who is also credited with designing the retablo), alternating with carved wooden statues standing in niches. At the centre of the second register, directly above the later neo-classic ciborium (presumptively installed in the first decades of the 19th century and visible in a 19th century lithograph which shows the arrangement of the retablo), was a carved and painted panel in high relief of the patron saint of the church, Santiago Matamoros, the only part of the retablo that has survived.The retablo is described in Victoria (1990) pp.

Interior The final form of the building after the additional extensions is an aisled wooden roof basilica with three side chapels on each side (covered with monastic vaults and communicate with the main aisle with arched openings) and polygonal sanctuary particularly impressive size. Before repairing the temple seems that the main altar was once located deep in the Sanctuary and covered with ciborium reported as configured by parts, with architectural elements and sculptures from the Temple of the Annunciation. The total area of the Temple (Temple and aisles) than to 600 sq.m. The access to the temple is from the west side close three doorways, a main central and two symmetrically arranged this.

This small 15th-century church was built to shelter a local aedicule dedicated to the Virgin, and the structure was once dedicated to Santa Maria de Incertis, but later was rededicated to the bishop of Milan, later Saint Cardinal Carlo Borromeo, who once officiated mass here. The exterior facing the piazza was represented by two round stone arches and two flanking windows, of which only one arch has not been closed off. The interior space is a single nave with wood roof. The interior houses a main altar, roofed by an elaborate ciborium, with the posterior wall possessing a large, well-restored 15th-century fresco depicting an Enthroned Madonna, Saints, and Angels, painted by a follower of Boccati.

Eastward of the four bays is Eduardo's eighteenth century work; it consists of a cross, with transepts, or rather pseudo-transepts, carried up throughout to the height of the nave and first aisles, but not extending laterally beyond the secondary aisles. Throughout the arches are scarcely pointed, as nearly as possible forming a semi-circle. The square of the cross is like the old work, except that the soffits of the four sustaining arches are enriched with featherings of shell-work, and above these is a deeply sunk hollow, enriched with ornaments. Above the arches rises a second pointed arch, sustaining a vaulted ciborium, entirely classical on the exterior, but pointed within.

This diversity was recognized in the rubrics of the Roman Missal from the 1604 typical edition of Pope Clement VIII to the 1962 edition of Pope John XXIII: "Si altare sit ad orientem, versus populum ..."Ritus servandus Missae, V, 3 When placed close to a wall or touching it, altars were often surmounted by a reredos or altarpiece. If free-standing, they could be placed, as also in Eastern Christianity, within a ciborium (sometimes called a baldachin). Altar of Newman University Church, Dublin, with an altar ledge occupying the only space between it and the wall The rules regarding the present-day form of the Roman Rite liturgy declare a free-standing main altar to be "desirable wherever possible."General Instruction of the Roman Missal, 299.

When priests or deacons bless the people with the monstrance, they cover their hands with the ends of the veil so that their hands do not touch the monstrance as a mark of respect for the sacred vessel and as an indication that it is Jesus present in the Eucharistic species who blesses the people and not the minister. The humeral veil is also seen at the Mass of the Lord's Supper of the Catholic Church. It is used when the Ciborium containing the Blessed Sacrament is taken in procession to the place of reposition, and again when it is brought back to the altar without solemnity during the Good Friday service. The ritual for Requiem masses does not require the use of a humeral veil.

The sober façade of the church has a Romanesque portal from the 15th century and a small rose window. The edifice is on the Latin cross plan, with a nave and two aisles of nearly the same length, ending in a large presbytery without an apse. In the right wall of the transept is a 15th-century ciborium, with columns and capitals in Gothic-Renaissance style, while the left wall houses a fresco of the Last Supper, episodes of Jesus' life and lives of Saints. They date from Among the various figures portrayed in them, one has been identified as the future pope Celestine V. Other frescoes, dating to the 14th and the early 15th century, are housed in the crypt..

The design of Etchmiadzin Cathedral—classified as "a four-apsed square with ciborium," and called Ejmiatsnatip "Etchmiadzin-type" in Armenian architectural historiography—was not common in Armenia in the early medieval period. The now-destroyed St. Theodore Church of Bagaran, dating from 624 to 631, was the only known church with a significantly similar plan and structure from that period. In the 19th century, during an architectural revival that looked back to Armenia's past, the plan of Etchmiadzin Cathedral began to be directly copied in new Armenian churches. Some notable examples from this period include the narthex of the St. Thaddeus Monastery in northern Iran, dating from 1811 or 1819 through 1830, and the Ghazanchetsots Cathedral in Shusha, dating from 1868.

As in Classical architecture, in Gothic architecture, too, an aedicula or tabernacle frame is a structural framing device that gives importance to its contents, whether an inscribed plaque, a cult object, a bust or the like, by assuming the tectonic vocabulary of a little building that sets it apart from the wall against which it is placed. A tabernacle frame on a wall serves similar hieratic functions as a free-standing, three-dimensional architectural baldaquin or a ciborium over an altar. In Late Gothic settings, altarpieces and devotional images were customarily crowned with gables and canopies supported by clustered-column piers, echoing in small the architecture of Gothic churches. Painted aediculae frame figures from sacred history in initial letters of illuminated manuscripts.

At St Michael's, the Host was desecrated, and the pyx and ciborium carried away. Although the Catholic population of the diocese was 58,013 (as of the early 20th century), Shropshire contributed under 3,000, partly on account of agricultural depression and the consequent flocking to industrial centres. There were ninety clergy, sixteen convents, representatives of four orders of men, eight secondary schools for girls, an orphanage and industrial school for boys, a home for aged poor, a home for penitents, and an orphanage erected in memory of Bishop Knight. At Oakwood Hall, Romiley, a house of retreats for working-men opened and had done important work; and at New Brighton, the nuns of Our Lady of the Cenacle opened a house of retreats for working-women and ladies.

The dual sepulchral and heavenly symbolism was adopted by early Christians in both the use of domes in architecture and in the ciborium, a domical canopy like the baldachin used as a ritual covering for relics or the church altar. The traditional mortuary symbolism led the dome to be used in Christian central- type martyriums in the Syrian area, the growing popularity of which spread the form. The spread and popularity of the cult of relics also transformed the domed central-type martyriums into the domed churches of mainstream Christianity. The use of centralized buildings for the burials of heroes was common by the time the Anastasis Rotunda was built in Jerusalem, but the use of centralized domed buildings to symbolize resurrection was a Christian innovation.

Grove, 2, (i) A very famous ciborium that apparently did not stand over an altar was one that apparently functioned as a quasi-reliquary shrine or symbolic tomb for the missing remains of St Demetrius of Thessaloniki in Hagios Demetrios, the large and important church erected in Thessaloniki over the mass grave in which he was traditionally buried. This appears, from various accounts of miracles associated with it, and depictions in mosaic, to have been a free-standing roofed structure inside the church, at one side of the nave, with doors or walls in precious metal all around it. It was hexagonal and made of or covered with silver; inside there was a couch or bed. The roof had flat triangular panels rising shallowly to a central point.

After removing the ciborium from the high altar to the altar of repose, the priest, accompanied by the other ministers, went to the sacristy, where he took off his white Mass vestments and donned a violet stole. Then, with the other ministers, he removed the altarcloths, vases of flowers, antependium and all other ornaments then customarily placed on the altar. Unlike present usage, the altar cross and candlesticks were left on the altar. This was done to the accompaniment of Psalm 22 (Vulgate) (Deus, Deus meus) preceded and followed by the antiphon "Diviserunt sibi vestimenta mea: et super vestem meam miserunt sortem" ("They divided my clothes among them and cast lots for my garment").. In earlier centuries, the altars were in some churches washed with a bunch of hyssop dipped in wine and water.

His relics were translated from the Battistero di Napoli to the district known as Rione Sanità in the 9th century, to what became known as the Catacombs of San Severo. In 1310, Archbishop Umberto d’Ormont (Uberto d'Ormont), who had served as abbot of the Basilica of San Severo, placed Severus' relics in the main altar of San Severo, and had built a marble ciborium, which has been attributed to Tino da Camaino. The Marble Calendar of Naples, sculpted in the ninth century and preserved in the Cathedral of Naples, lists Severus under the feast day of April 29 –the date that appears in the Roman Martyrology. A legendary Vita, written in the eleventh century, states that Severus brought a dead man back to life after the man’s widow and children had been left destitute.

The Gothic ciborium is surrounded by four marble columns white and black, decorated with statuettes of angels, saints, prophets, and evangelists. The Last Judgement fresco which remains today, covering the entire width of the west wall of the entrance, is likely part of a cycle of Old and New Testament scenes by Cavallini on the north and south nave walls, based on remaining fragments of an Annunciation scene and stories of the life of Jacob. The frescoes were plastered over in a remodeling under Cardinal Francesco Acquaviva in 1724, which included building an enclosed choir, the floor of which cuts off part of the Last Judgement. Rediscovered in 1900, the fresco may be viewed during limited weekday hours for a small 2,50 euro fee paid to the Benedictine nuns who of the church.

A great number of Coosemans' still lifes can be characterized as 'vanitas' still lifes and 'pronkstillevens' (ostentatious still lifes). The still lifes are believed to carry a moralistic, hidden meaning. Vanitas For instance, in the Still life on a partly draped table the various objects convey hidden meanings: the grapes and the glass of red wine refer to Christ and his blood, the bread references the Last Supper of Christ and the Christian communion and the silver vessel looks like a ciborium that holds the consecrated hosts during the Catholic Mass. The crabs, just like the lobsters in his other still lifes, refer to the Christian belief in the resurrection of Christ since these crustaceans must, in order to grow, loose their carapace and start a new life.

As outlined by Tatartkiewicz, architecture was heavily founded upon notions of symbolism based on numbers with 'five doors symboli[sing] the five wise virgins, and twelve columns the twelve apostles. Pulpits were supported by eleven columns, symbolising the eleven apostles who were present at the Descent of the Holy Ghost, and the ciborium on ten columns symbolises the apostles who were not present at the Crucifixion'. Churches evinced considerable symbolism, which is particularly noticeable in Eastern churches where the writing of Pseudo-Dionysius enjoyed considerable attention, with his notion of emanation allowing churches to be viewed as extension of God. Edessa Cathedral, for instance, was built so that light entered it through three windows with three facades in order to symbolise the Holy Trinity, whilst the roof represented the sky.

In the western part is a Gothic ciborium (early 15th century) which marks the place where Peter would pray for the first time. On the walls of the nave is a large fresco cycle, recently restored, by the Lucchese Deodato Orlandi (early 14th century), which was commissioned by the Caetani family for the 1300 jubilee. In the lower part are Portraits of Popes, from St. Peter to John XVIII (1303); the intermediate portion has thirty panels with Histories of St. Peter's Life (as well of those of St. Paul, Constantine and St. Sylvester), similar to those in the Old St. Peter's Basilica and to Cimabue's work at San Francesco in Assisi. In the upper area are portrayed the Walls of the Heaven City, largely restored in the following centuries.

He wrote: Later in a memorandum, he wrote: "Firstly, it is a virgin work, never before seen, curious, worthy and beautiful, made in the form of a round monument that has never been seen, nor ever before invented, neither altogether, nor in part, in other churches in this most serene city, just as my competitor (il Fracao) has done for his own advantage, being poor in invention." The Salute, while novel in many ways, still shows the influence of Palladian classicism and the domes of Venice. The Venetian Senate voted 66 in favor, 29 against with 2 abstentions to authorize the designs of the 26-year-old Longhena. While Longhena saw the structure as crown-like, the decorative circular building makes it seem more like a reliquary, a ciborium, and embroidered inverted chalice that shelters the city's piety.

Examples in Orthodox manuscripts mostly show rounded dome roofs, but surviving early examples in the West often placed a circular canopy over four columns, with tiers of little columns supporting two or more stages rising to a central finial, giving a very open appearance, and allowing candles to be placed along the beams between the columns.Bock, 298 The example by the Cosmati in the gallery is similar to another 12th-century Italian ciborium now in the Metropolitan Museum of Art in New York,Metropolitan Museum and that in the Basilica di San Nicola in Bari. By the Romanesque, gabled forms, as at Sant'Ambrogio, or ones with a flat top, as at the Euphrasian Basilica (illustrated) or St Mark's, Venice, are more typical. In Gothic architecture the gabled form already used at Sant'Ambrogio returns, now with an elaborate spire-like pinnacle.

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.

Drawing of a baldachin over a throne, placed on a dais Marie Antoinette's bed, which has a baldachin, in the Petit Trianon (Versailles, France) Enthroned Virgin Mary with cloth of honour by Hans Memling State bed of Louis XIV of France, Chambre du Roi, Versailles A baldachin, or baldaquin (from ), is a canopy of state typically placed over an altar or throne. It had its beginnings as a cloth canopy, but in other cases it is a sturdy, permanent architectural feature, particularly over high altars in cathedrals, where such a structure is more correctly called a ciborium when it is sufficiently architectural in form.Baldachins are often supported on columns, especially when they are disconnected from an enclosing wall. A cloth of honour is a simpler cloth hanging vertically behind the throne, usually continuing to form a canopy.

Numerous and prestigious are the sacred furnishings of the church, including the bronze crucifix found on the main altar, and the angel candleholders placed at the ends of the rich marble transenna, made by Giambologna, as well as the large ciborium in silver designed by Giovanni Battista Foggini (1678–86) on the altar of the Blessed Sacrament chapel. On the numerous side altars are located 16th and 17th century paintings. Among these works are the Our Lady of Graces with saints, by the Florentine Mannerist Andrea del Sarto, and the Madonna enthroned with saints in the right transept, by Perin del Vaga, a student of Raphael, both finished by Giovanni Antonio Sogliani. In the Baroque style are: the Disputa del Sacramento by the Sienese painter Francesco Vanni, and the Cross with saints by Genoan Giovanni Battista Paggi.

Examples of carvings in the stalls In the Middle Ages, religious wood carving played an important role in ecclesiastical architecture and those in the cathedral date to the 16th century. There are 33 stalls on each side of the choir, 17 in the higher range and 16 lower down and each has been carved with a variety of depictions with representations of foliage, strange animals, dragons and amusing subjects. The first stall on the epistle side bears the arms of Bishop Monseigneur Carman, the Bishop of Léon from 1504 to 1514 and the first stall on the gospel side bears the arms of Bishop Monseigneur Guy Le Clerc, the Bishop of Léon from 1514 to 1523. View of the choir area with the master altar and ciborium with angels on either side in the distance and the rows of stalls on either side.

Altar of Santa Cecilia in Trastevere with ciborium Most rubrics, even in books of the seventeenth century and later, such as the Pontificale Romanum, continued to envisage the altar as free-standing. The rite of the Dedication of the ChurchDe ecclesiae dedicatione seu consacratione continued to presume that the officiating Bishop could circle the altar during the consecration of the church and its altar. Despite this, with the increase in the size and importance of the reredos, most altars were built against the wall or barely separated from it. In almost all cases, the eastward orientation for prayer was maintained, whether the altar was at the west end of the church, as in all the earliest churches in Rome, in which case the priest celebrating Mass faced the congregation and the church entrance, or whether it was at the east end of the church, in which case the priest faced the eastern apse and had his back to the congregation.

Fifteenth-century painting by the Master of Saint Giles, showing St Giles saying mass before Charlemagne or Charles Martel, with what is thought to be a largely accurate view of the abbey with a crux gemmata given by Charles the Bald and gold altar reredos, both destroyed in the Revolution Dagobert, the king of the Franks (reigned 628 to 637), refounded the church as the Abbey of Saint Denis, a Benedictine monastery. Dagobert also commissioned a new shrine to house the saint's remains, which was created by his chief councillor, Eligius, a goldsmith by training. An early vita of Saint Eligius describes the shrine: :Above all, Eligius fabricated a mausoleum for the holy martyr Denis in the city of Paris with a wonderful marble ciborium over it marvelously decorated with gold and gems. He composed a crest [at the top of a tomb] and a magnificent frontal and surrounded the throne of the altar with golden axes in a circle.

Although the nave of St. Adalbert's is inspired by Roman churches which pre-date the Renaissance, the exterior is dressed symmetrically with a pair of 185-foot baroque towers to conform its overall appearance with the so- called 'Polish Cathedral style' befitting the parish church of a largely Polish congregation. In this case, Schlacks seems to have taken the towers of the nineteenth-century St. Stephen's Basilica in Budapest as his loose inspiration. One enters through a shallow portico with eight massive grey- flecked, rose-colored polished granite columns, from there to pass through a narrow vestibule with four large recessed fonts in its back wall, and finally to enter the immense main body where one finds the most magnificent marble work to be found in any church in Chicago. A stern large white-marble statue of the church's patron St. Adalbert, the evangelizer of Poland and martyr, stares down from the massive and elaborate thirty-five ton Cararra marble altar whose ten spiral pillars are capped with a dome-shaped ciborium.

The visitation, signed off on 12 June, seems to have concentrated on accounting for Titchfield's assets and liabilities. There was no cash in the treasury and the debts came to £62 0s. 6d., although the house was owed £43 4s. The valuables in the sacristry and treasury were counted: one silver-gilt ciborium, two large silver-gilt chalices and twelve others, of which six were gilded, a large Gospel book adorned with various relics, a silver-gilt vessel set on feet and filled with relics, a large silver-gilt cross with images of Mary and St John, set on a large stand, and so on, to the 84 silver spoons. The livestock on various manors was also counted: 34 horses, 10 draught horses, 4 colts, 154 oxen, 7 bulls, 69 cows, 17 heifers (young cows), 10 bullocks (young and or castrated bulls), 28 yearlings, 29 calves, 381 muttons, 207 hurtis et muricis, 121 hoggets, 100 lambs, 17 boars, 24 sows, 33 pigs, 126 hogs (castrated male pigs, and 89 suckling pigs.

In Early Christian architecture the templon was a barrier dividing off the sanctuary from the rest of the church; in Eastern Christianity this developed into different arrangements from those of the Western church, with the sanctuary often not visible by the congregation. In the West the ciborium, an open-walled but usually roofed structure sheltering the altar, became common, and was originally fitted with curtains that were drawn and pulled back at different points in the Mass, in a way that some Oriental Orthodox churches still practice today. A large (or "deep") chancel made most sense in monasteries and cathedrals where there was a large number of singing clergy and boys from a choir school to occupy the choir. In many orders "choir monk" was a term used to distinguish the educated monks who had taken full vows, or were training to do so, from another class, called "lay brothers" or other terms, who had taken lesser vows and mostly did manual tasks, including farming the monastery's land.

The first documented bishop of Cattaro was Paulus, who participated in the Council of Chalcedon in 451. The next mention of the Diocese of Cattaro was 530, when it is mentioned as a suffragan of the Archdiocese of Salona (Solin). The late Antiquity era, relatively the early Christian origin of the bishopric of Cattaro, is testified by an early Christian baptistery from the late 5th or early 6th centuries, discovered in an archeological examination of the Church of Saint Maria of Rijeka (Crkva sv. Marije od Rijeke) following the 1979 earthquake where the probable foundations of the first cathedral in Cattaro was discovered with remains, such as the cathedra and ciborium from the 6th century. John, a bishop of Cattaro, was certainly mentioned in the acts of the Second Council of Nicaea in 787. John was also mentioned in 809 in epigraphical inscriptions found in Cattaro. Bishops of Cattaro were mentioned in Ecclesiastical Assembly of Spalatum in 925 and 928, during the reign of King Tomislav. Only a fragmental list of the bishops before the 11th century were preserved. Afterward, since 1090 till the present day, a complete list has existed, beginning with bishop Grimoald, of Lombard origin.

The marble tabernacle, in high relief and about four metres high, was made by Antonino Gagini and Baldassare Massa (1557–1558). The ciborium, among for kneeling angels, is surmounted by a Crucifix above the figures of saint John the Apostle, the Virgin Mary and the Holy Ghost as a dove and among four angels’ heads:[5] there are also the scene of the Flagellation and the figure of saint John Baptist with Jesus’baptism, saint Michael the Archangel while defeating Satan, the chasing away of the rebel angels into hell, and finally the coat of arms of Alcamo and of the abbess Margherita di Montesa.Gianni Guadalupi, Mariano Coppola, Alcamo, introduzione di Vincenzo Regina(collana Grand Tour), Milano, Grafiche Mazzucchelli, 1995, . She made Baldassare Massa (a sculptor from Palermo) complete the work started by Gagini and inserted seven scenes of the Passion of Jesus, two oval paintings representing saint Benedict and the Redeemer, and a depiction of God the Father with his open arms. The marble tabernacle of the Holy Sacrament was later gilded by Giovan Leonardo Bagolino, a painter from Verona and Sebastiano Bagolino’s father.

Royal regalia of Bavaria (1807) inside the treasury) Among the exhibits are Emperor Charles the Bald's prayer-book from around 860, the altar-ciborium of Emperor Arnulf of Carinthia from around 890, the crown of the Empress Cunigunde, reliquary of the True Cross which belonged to the Emperor Henry II, a cross which belonged to Queen Gisela, all from around 1000, the Reliquary Crown of Henry II from around 1270, an English Queen's crown from around 1370 (the oldest surviving crown of England that came to the palatinate line of the house of Wittelsbach as the dowry of Blanche of England, the daughter of King Henry IV of England), the famous Statuette of St George (Munich, ca. 1599), the insignia and orders of the Bavarian monarchs, including crowns and insignia of the Emperor Charles VII (1742), the Crown of Bavaria (1807), ceremonial swords and ruby jewellery which belonged to Queen Therese. A precious set of matching dishes served the French Empress Marie Louise during her journeys. Non-European art and craftwork, including Chinese porcelain, ivories from Ceylon and captured Turkish daggers are also on display.

Another example of this genre is the Fruits surrounding a niche with a crucifix (Cornette de Saint Cyr, Bertrand, -10-25 October 2013, Paris).Alexander Coosemans, Vruchten rondom een nis met een crucifix, vermoedelijk jaren vijftig at the Netherlands Institute for Art History These garland paintings often carry religious meanings. For instance in the Allegory of the Eucharist (Musée de Tessé, Le Mans) the garland painted by Coosemans around a ciborium with the host includes many symbolic elements: a cornucopia symbolizes the bounty of creation and the providence of god, the stalks of wheat and the grapes are a reference to the Christian communion during which bread and wine are consumed while the pomegranate and the quince are symbols of plenty as well as of fertility and immortality.Carolyn Pirtle, Encountering the Eucharist through art: Coosemans' 'Allegory of the Eucharist' at University of Notre Dame blog Another collaborative effort of Coosemans is the composition Double Portrait of a boy and a girl as Cupid and Ceres next to a Stil life of fruits and flowers (Sotheby's on 28 January 2010 in New York, lot 279).