The church she attends flies a rainbow flag on its communion table.
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The Francis-Kasper view is that the church should balance justice with mercy: recognize the complicated nature of sexual sin and prioritize welcoming as many Catholics as possible to the communion table.
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While Victorian churches themselves often tended their rhetoric toward the feminine — wives were the "angels of the house" in charge of keeping their wayward husbands pious — this brand of Christianity gave men a place at the communion table.
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Instead, one will find a "communion table," usually on the same level as the congregation. There may be a rail between the communion table and the chancel behind it, which may contain a more decorative altar-type table, choir loft, or choir stalls, lectern and clergy area. The altar is called the communion table, and the altar area is called the chancel by Presbyterians. In a Presbyterian (Reformed Church) there may be an altar cross, either on the communion table or on a table in the chancel.
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See also p. 21. The reredos and communion table at St James Garlickhythe.
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Their names were inscribed on a memorial plaque incorporated in the Communion Table.
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Also in the chapel are a communion table with communion rails, and a treadle organ.
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The Communion-table is of wood, with a vulgar-looking attempt at superaltar and reredos.
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The ambon and communion table was made in 1979 by Václav Hartman, parish priest in Hronov.
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The communion table and some tombstones are 17th-century, while the pulpit and stairs are 18th-century, and some glass is of medieval era.
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The pulpit is dated 1636 and the communion table has Jacobean carving. There is a ring of three bells which were hung in the 1730s.
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On the first Sunday of each month the congregation celebrates communion. To this communion table, everyone is invited into the full life of the church.
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The font dates from 1928. The Collessie war memorial is in the east transept. The communion table was brought from Cowlairs Church and was their war memorial.
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A small communion table with Celtic knot and floral designs was added to the Preston Aisle in 2019; this was designed by Sheanna Ashton and made by Grassmarket Furniture. The eagle lectern (1886) and steps by Jacqueline Gruber Steiger (1991) The communion table and reredos of the Chambers Aisle were designed by Robert Lorimer and John Fraser Matthew in 1927–29. The reredos contains a relief of the adoration of the infant Christ by angels: this is the work of Morris and Alice Meredith Williams. In 1931, Matthew designed a reredos and communion table for the Moray Aisle; these were removed in 1981 and later sold to the National Museum of Scotland.
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In 2001 a three-manual Allen Renaissance Digital Organ was installed to replace the pipe organ. At the same time a dais was installed with space for a nave communion table.
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Most of the church's furnishings date from this restoration onwards. From 1982, the church was reoriented with seats in the choir and nave facing a central communion table under the crossing.
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The font was brought from Rome in 1912 by William Moir Bryce; it likely dates from the early Renaissance.Steele 1993, p. 18. The communion table of the New North Church stands at the east end of the north aisle while the communion table of New Greyfriars stands at the east end of the south aisle. The furnishings in the western part of the south aisle were moved from the St John's Chapel of Highland, Tolbooth, St John's.
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The frame... Wood. the Roof... covered with Cypress Shingles and the wall with Boards of the same wood,.. the walls wainscoted with Cypress plank as high as the tops of the pews. The Pulpit, reading desk, Communion Table and Rail are handsomely built of Black Walnut — the pews... of pine plank... the number of people frequenting this church I reckon... about 150. The original communion table is still in use as the altar in the present church.
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Münster in Schaffhausen, Switzerland. Communion table or Lord's table are terms used by many Protestant churches—particularly from Reformed, Baptist and low church Anglican and Methodist bodies—for the table used for preparation of Holy Communion (a sacrament also called the Eucharist). These churches usually do not use the term "altar" because they do not see Communion as sacrificial in any way. However, in colloquial speech, the word "altar" is often used interchangeably with "communion table".
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Such a table may be temporary, being moved into place when there is a Communion Service, but generally holds a permanent (or semi-permanent) position of some prominence in the worship space. Instead of a high altar, the sanctuary may be dominated only by a large, centralized pulpit.Huldrich Zwingli's minister church in Basel Some bring in a Communion table only when needed. For example, St Andrew's Anglican Cathedral in Sydney does not have a prominent Communion table.
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He declares, "I will abroad!" Levitt and Johnston make the claim that the "board" the speaker strikes in line 1 is meant to represent the deck of a ship. However, Dale B. J. Randall points out that the use of the word could be multi-layered, the most sensible option being a communion table. Daniel Rubey backs this idea, pointing out that the board may indeed be correlated to a Communion table, keeping with the religious theme of the poem.
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57Gary Bouma, Australian Soul (Cambridge University Press 2006 ), p. 95 Having or not having a Communion table was a subject of dispute within Scottish Presbyterianism in the 17th century, with the Independents opposing its use. The United Methodist Church states that the term "altar" is often used but the correct (traditional) terms are "Lord's table" and "Communion table" for the table upon which the elements are placed during Holy Communion. High church Methodists may use the term "altar" exclusively, mirroring the Anglican usage.
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The communion table, positioned on a raised platform, is centered on the east wall of the church. Original brick pavers still cover the aisles. The entire nave is covered by a barrel vaulted ceiling.
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Marshall 2009, p. 183. The bronze lectern steps were sculpted by Jacqueline Gruber Steiger and donated in 1991 by the Normandy Veterans' Association.Marshall 2009, p. 188. Until 1982, a Caen stone lectern, designed by William Hay stood opposite the pulpit at the west end of the choir.Marshall 2009, p. 124. Situated in the crossing, the communion table is a Carrara marble block unveiled in 2011: it was donated by Roger Lindsay and designed by Luke Hughes. This replaced a wooden table in use since 1982. The plain communion table used after the Chambers restoration was donated to the West Parish Church of Stirling in 1910 and replaced by an oak communion table designed by Robert Lorimer and executed by Nathaniel Grieve. The table displays painted carvings of the Lamb of God, Saint Giles, and angels; it was lengthened in 1953 by Scott Morton & Co. and now stands in the Preston Aisle.Marshall 2009, pp. 151-152. The Albany Aisle contains a neo-Jacobean communion table by Whytock and Reid, which was installed at the time of the Aisle's dedication as a war memorial chapel in 1951.Marshall 2009, p. 159.
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The dais and oak wainscot and communion table at the east end of the church were added in 1912 to designs of Herbert Honeyman. The table is decorated with bronze panels that show the symbols of the four Evangelists and an Evangelist at work. The wainscot, whose Canopy incorporates depictions of the wounds of Christ, was adorned by the addition of gilt cross to the central panel in 1963: this was donated by City of Edinburgh (Fortress) Royal Engineers. The communion table and wainscot were altered in 1971 by George Hay.Steele 1993, pp. 17-18.
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Subsequently, he was buried in Skinner's Church on 19 January 1842 in a vault of white marble immediately below the Communion table .Skinner's Tomb, St. Jame's Church, Delhi British Library.St Jame's Church, with tomb of William Fraser British Library.
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Covesville First Baptist Church is a historically Black Church in Covesville. On December 8, 1974, the church hosted Little Rev. Michael Dandridge in a benefit for the purchase of a communion table. This event was sponsored by Sister Marion Dowell.
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In 1865 the church suffered a major fire and Tyng supervised reconstruction after a fire.Burrows & Wallace, p.1171 Under his instructions, the interior of the rebuilt church reflected his views: the altar, for instance, was a plain communion table., p.
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In 1989 Stead was commissioned by the North Sea Oil Industries to design and make the fittings for a new Memorial Chapel in the Kirk of St Nicholas, Aberdeen. This originally involved forty chairs, a lectern, communion table and a minister's chair. Later this extended to include a screen which would divide the chapel form the rest of the kirk. The communion table, made in ash and walnut has a slightly ovoid shape representing the bow of a ship and a plough, and has inlays related to Christian symbols such as the fish and the cross.
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He died at Cheshunt, near Waltham in Hertfordshire, on 14 December 1562, in the house of his daughter and son-in- law, Henry Denny (son of Sir Anthony Denny), and was buried in the parish church there, near to the communion-table.
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The Chapel was built with wooden box pews, a musicians desk and Communion table bench seats. It has no known dedication. The 19th century saw the disappearance of Langley Hall, followed by the loss of the local population. The chapel became disused.
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The reredos was installed in 1934, in memory of Mr T.E. Forster. The organ was made by Wilkinson of Kendal in 1888. The choir stalls, pulpit, pews and west end screen, all date from 1881. The communion table was made in 1970.
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Timber pews. Cast-iron columns supporting panelled gallery. Communion table in front of timber pulpit with stair access and timber Gothic panelled organ and case behind. A notable feature of the building are the vast array of stained glass windows adorning the sanctuary and narthex.
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The altar space is separated from the nave and there is no iconostasis. The altar contains two niches. The communion table is made in three pieces and stands in the centre of the altar. The floor of the altar is made of brick tiles.
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Within the sanctuary there is a decorative carved stone sedilia on its southern wall and decorative plaster dados on the walls. During the site inspection on 28 November 2016 a small range of furniture was arranged throughout the chancel and sanctuary, including four chairs, an alms box, a pray kneeler, and a rectangular timber altar along the east wall of the sanctuary, beneath the window. Generally the existing furniture, with the exception of the modern communion table, is similar to that described in Munro's accounts suggesting that they are original. In 1989 the original communion table was known to survive, but its location was not mentioned.
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The Jacobean communion table was donated to the church in 1610. The wooden pulpit is polygonal. It dates from 1906, and contains carved figures of the Four Evangelists, Bishop Egwin, and Saint Lawrence. The font is medieval and consists of an octagonal bowl on an octagonal stem.
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Flanking the communion table are boards inscribed with the Ten Commandments. The chancel arch is plain, and bears an inscription. The pulpit is a two-decker with an integral reading desk. Its upper deck is carried on four iron columns, and is reached by a spiral staircase.
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The plaster was removed from the pillars and interior walls. The galleries in the north, west and south were removed. The box pews were replaced with open benches. New stained glass windows were inserted and a new pulpit, reading desk, lectern and communion table were set up.
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At the west end of the church is a 17th-century communion table. In the south aisle is the Hawker memorial window by Lavers and Westlake which was erected in 1904. It depicts Parson Hawker and his dog, the church and various other features associated with him.
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250px Church of St Mary is a Grade I listed church in Eaton Bray, Bedfordshire, England. It became a listed building on 3 February 1967. The arcades of the nave and the font date from the Early English period. There is a 16th-century communion table.
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In 1932 a baptismal font was given to the church in memory of Br J J Lees. When Westwood closed in 2005, the communion table, memorial plaque and Lamb and Flag symbol from the pulpit were transferred to the new church in Royton along with the font.
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It was plain brick and hung one bell. Entrance to the church was via alleyways to the north and south. St. Matthew's communion table and Royal Arms are now in St. Vedast- alias-Foster, while the font and pulpit are in St. Andrew-by-the-Wardrobe.
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The communion table which was presented to the chapel in 1894 is also elaborately carved. The alabaster christening bowl and its cover are dated 1842. In the east gallery is a two-manual organ dated 1846, made by John Bellamy. There are no memorials or gravestones.
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The inscription is concluded with two Kemeys pheons and the family motto in Welsh: Duw dy Ras (God thy grace). On the south wall is a large piscina with a trefoil canopy. The Jacobean communion table is made of oak. There is a decorated window in the north wall.
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The crucifix from approx. 1250 is a mixture type between Late Romanesque and early Gothic. The baptismal font origins from the first building period of the church together with the communion table. The font is composed of two types of granite; a reddish basin upon a greyish foot.
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The chancel (or sanctuary), directly to the east beyond the choir contains the High Altar, where there is one (compare communion table). This area is reserved for the clergy, and was therefore formerly called the "presbytery," from the Greek presbuteros meaning "elder", or in older and Catholic usage, "priest".
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Internal fittings include a pitch pine pulpit, communion table and benches. The interior of the church is rendered and the internal doors are part-glazed with coloured glass. The gable-fronted hall has a two-light window over the gabled porch, which is flanked by two-light windows.
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The execution took place at 6 pm. Kirkby was "kneeling on the larboard side of the forecastle" facing the six musketeers appointed to shoot him. He lifted his hand as "a signal to be shot". He was then taken to shore and buried under the communion table in Charles' Church, Plymouth.
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The inside is finished in the highest taste, and it is as > clean as any nobleman's saloon. The Communion Table is fine mahogany; the > very latches of the pew doors are polished brass. How can it be thought the > old coarse gospel should find admission here?John Wesley's Journal, vol.
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The parish church was built soon after 1205 by William I de Cantilupe using stone from nearby Totternhoe. The organ was refurbished after a local fundraising campaign in the 1980s. The arcades of the nave and the font date from the Early English period. There is a 16th-century communion table.
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The Huntress by Ann Macbeth. Studio Magazine vol 27 (1903) St. Patrick's Church in Patterdale, Cumbria houses some of her embroideries. Examples of her work were on exhibition at Miss Cranston's tea-rooms in Glasgow over a long period. She designed and embroidered a frontal for the communion table of Glasgow Cathedral.
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In 1914, the interior and exterior stonework was tuckpointed. An oak Communion Table and Reredos were presented by the parishioners to the church at the centenary of the schoolhouse/chapel. Electric light was installed in St John's Church in 1934. In 1970, three hanging kerosene lamps were still suspended from the ceiling.
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At the east end is a communion table dated 1725. On the north wall is an aumbry. On a window-ledge in the Gerard Chapel is the cross-arm of an Anglo-Saxon preaching cross dating from around 750. The pews, furnishings and glass in the chancel and sanctuary were designed by Pugin.
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Directly behind the lectern is the baptismal font. In the centre between the font and the organ is the Communion Table and seating for the minister and 8 elders. Behind the pulpit is a large chair for the preacher and the new organ. The original organ was donated by the former minister Rev.
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To avoid any potential confusion of the communion table with an altar, the strongly Evangelical diocesan leadership decided that the communion table should be placed in a more forward position in the chancel and that it should be easily portable in order that it might be removed when not required for Holy Communion, to clear a space for presentations and musical performances. A new table, of a simple, square and modern design, was installed. It was suggested by some traditional Anglicans that the older table, with its ornate carving, should be retained in its usual place in front of the reredos. It is not unusual for cathedrals in England, because of their vast size, to have tables in two positions.
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The floor of the church is flagged, and the walls are limewashed. Inside the church are panelled box pews, an octagonal pulpit with a sounding board, communion rails, and a communion table, all dating from the 18th century. The octagonal stone font dates from a similar period. There are traces of paintings on the walls.
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It is octagonal and built in alabaster and marbles of different colours, decorated with shallow reliefs. It was designed by Anthony Welsh. The communion table dates from 1896. The rails surrounding the platform on which it stands are in oak, they have barley-twist balusters, and were made by J. W. Mitchell of Halifax.
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It is screened by a paneled balustrade topped with a privacy curtain hung from turned posts that extend above each end of the balustrade. There is painted communion table in the front. Electrical lights have replaced the original kerosene hanging lamps. A sketch of the floor plan and front and side elevations have been published.
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The pulpit, which has access by stairs on both sides, is in a central position in front of the organ. The communion table stands in front of the pulpit. Rows of pews face the table from right, left and centre. The interior of the 1869 church as it would have appeared between 1882 and 1923.
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The church is stone building in the Gothic architecture with no intervening pillars. The building could now hold 500 people. The architect of the building was J H Stephen, who also donated the circular glass over the door. The communion table, pulpit, reading desk chairs were carved from teak at the Industrial School at Karur.
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Mellowes, 1977, pp 41,44,49 In the 18th century, the chapel was called the hall. It was unlit and unheated. Hard benches surrounded a pulpit and communion table in the centre of the north wall. The sisters sat on the east side, near their house; and the brethren on the west side, next to theirs.
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The medieval chapel was enlarged and altered in 1746 when a low porch and west gallery were erected. In 1826 another gallery was erected over the communion table to accommodate the singers. It was rebuilt by the architect T H Rushforth of London and reopened on 16 June 1864. The contractor was Charles Humphreys of Derby.
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All the finishes are of a very high quality. The timber floor slopes from the entry down toward the chancel, which is on raised platform, containing the Pulpit, Lectern and Communion table with chairs for the officers of the Church. All appear to be original. In the east transept are the choir stalls and organ console.
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The first three bays inside the church contain a curved gallery with curved pews. In the furthest bay is the organ, the pulpit, and a platform surrounded by wooden rails containing the communion table. Above these is a barrel roof painted with stars on an azure background. The pulpit was added to the church in 1891.
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This includes a panelled reading desk, pews dated 1619, and linenfold panelling on the east wall. The pews are arranged along three walls in the style of a college chapel. The communion table dates from the 17th century. The doorway leading to the vestry has an ogee head, and the vestry contains more early carved woodwork.
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It currently has 19 members. The church jokes about sitting on the state line, and the line is literally in front of the communion table. The minister stands in Kentucky and preaches to the congregation which sits in Tennessee during the services. Many other Churches of Christ have branched from this particular church and are still in existence today.
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In 1959 communion furniture was purchased for the church by the parishioners. A communion table, moderator's chair and two elders' chairs were donated to the church by local families. Following the amalgamation of the Congregational, Methodist and Presbyterian Churches in Australia into the Uniting Church in Australia in June 1977, the Herberton Presbyterian Church became the Herberton Uniting Church.
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A silky oak communion table was constructed for this purpose and donated by parishioner Frank Shuttlewood and his wife. The baptismal font of carved Carrara marble has been moved from the Baptistery to the front of the church and the confessional booths on either side of the rear of the church appear now to be used for storage.
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The gallery was replaced with a smaller one on the west wall. In accordance with the changes in thinking on Scottish church architecture, the communion table now took centre place, with the pulpit on the left. A mortsafe outside the west door is an interesting historical object. After the disruption of 1843, a Free Church was built near Kirkton.
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The interior was restored, the eastern wall of the chancel rebuilt and the external walls strengthened and underpinned. The church's pews were removed and replaced with new seating of stained deal. Some new fittings were also added, including a communion table, pulpit, reading desk and harmonium. The church was reopened by the Bishop of Salisbury, the Right Rev.
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The pulpit occupied the center, with reading desks on both sides, forming one continuous structure. A small oaken communion table, covered with crimson velvet, was placed in front of the pulpit. This table remained in use until the enlargement of the church in 1853. The ceiling was also minimally decorated and featured a large ventilator at its center.
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No bowl is visible, and a slab was inserted at the back in the 19th century. The communion table in this chapel is of the 17th century. The nave has six bays of the 14th century and which are slightly different from the two bays of the chancel, the two easternmost being rather lower than the rest.
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External door opened under gallery. Rear west door sealed. The building still contains a rare long central communion table (similar to the ones in Ardchattan Kirk near Oban and Howmore#Church in the Outer Hebrides, although the East Kirk table is a continuous table, without a break) and the remodelled pulpit and altar. The wooden floors are intact.
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Memorial Episcopal Church, Bolton Hill, Baltimore, Maryland (built between 1861 and 1864 ), is a memorial to Henry Van Dyke Johns; the Marble Pulpit, Communion Table and Reading Desk, now in Memorial Church, are those formerly used in Christ Church during the ministry of Rev. Dr. Johns, and his brother who preceded him and thereafter became Bishop of Virginia.
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The interior of the tower is small and was adorned with a few monuments. The communion-table was in a recess at the eastern end lit by a large circular-headed window, with a monument to the memory of Lady Galbraith on its south side. In the west over the entrance was a small, badly lit gallery.
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In front of the pulpit is a large table, two benches (which are dated 1728), and another table which is used for communion. The communion table is dated 1727. Also in the church are box pews, and some simple backless benches. On the walls are memorials dating from the early 19th century that include inscriptions in Latin.
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Michael Keene, Christian Churches Nelson Thornes 2001 , p. 58 Such a table may be temporary, being moved into place only when there is a Communion Service.Trinity Baptist Church Some nondenominational churches have no altar or communion table, even if they retain the practice of the "altar call" that originated in the Methodist Church.Harvey Cox, Fire from Heaven (Da Capo Press 2001 ), p.
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London, Guild Publishing: 176–8 In 1682 Thomas Wharton, 5th Baron Wharton, broke into a church at night and relieved himself against the communion table and in the pulpit.Kenyon, J.P. The Stuarts Fontana Edition 1966 p.188 A later group of aristocratic rakes were associated with the Hell Fire Club in the eighteenth century. These included Francis Dashwood and John Wilkes.
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The nave of the church has flooring of pine wood blocks. The church retains the memorials received from the college chapel, although the fittings received from Christ Church have since been passed on to other churches. The organ was built by Norman and Beard and rebuilt by Henry Willis & Sons. The church's communion table, font and pulpit are all modern.
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In the tympanum of the pediment above the west wall, the coat of arms of Richard Trevor is displayed in Portland stone. Above the pediment is a bell, housed in an open ashlar belfry. The space inside is a perfect rectangle, except that the communion table is in a recess in the thickness of the east wall. There is a coved ceiling.
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The nave was largely remodelled at this time, with the organ moved to the gallery to the west of the nave, and the pulpit and communion table moved to the raised chancel at the east end. Mortlach Parish Church, with its watch house and burial grounds, was designated a Category B listed building in 1972; it was upgraded to Category A in 1987.
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St Michael's Church, Farway Farway is a small village, civil parish and former manor in the East Devon district of Devon, England. The village is situated about south-east of Honiton. The small parish church of St Michael has a tower with 13th century north aisle arcade incorporating Norman piers. Features of interest include the Elizabethan communion table and various monuments.
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These provisions offended many Protestants, and in practice, the Injunctions were often ignored by church leaders. The Queen was disappointed by the extreme iconoclasm of the Protestants during the visitations. In October 1559, she ordered that a crucifix and candlesticks be placed on the communion table in the Chapel Royal. Later, she decided that roods should be restored in parish churches.
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His Calvinistic views left him undisturbed during the civil war; he was chosen member of the Westminster Assembly, but did not sit. In 1653 he was allowed an annuity out of Lord Digby's estate. Lyford died at Sherborne on 3 October 1653, and was buried under the communion table in the chancel of the church. By his wife Elizabeth he left children.
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At the east end of the south aisle is the Lady Chapel which is entered through an oak screen. In the chapel is a Jacobean communion table with a 19th-century marble top. The 19th-century red sandstone reredos has carved panels and painted inscriptions. Above this is a painting of the Last Supper which has been attributed to Bonifazio Veronese.
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Boreham in Blair et al. 2009, p. 65. Alongside the communion table unveiled in 1943, a silvered bronze cross was added at the east end. Designed by John Fraser Matthew, the cross features square enamelled panels at each end, showing the symbols of the Four Evangelists: these panels were designed by Morris Meredith Williams and enamelled by Harold Conrad William Soper of London.
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St Paul's is built of local stone and red tiles in the Early English Gothic style. Designed to accommodate 300 persons, it was made up of nave, pentagonal chancel and north porch. The church was built with lancet windows and a turret containing one bell. Internal fittings included benches of pine wood, an oak pulpit, stone font and oak communion table.
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The money was used in 1936 to purchase five special chairs and a remodelled communion table. A major change to the church grounds occurred in 1924 when St Stephen's Hall was erected on the same allotment as the church and immediately to its rear. The hall was designed by a Church Elder, J. D. McConnell, and built by voluntary labour.
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At the time of the Reformation, Howmore turned to Protestantism, though 95% of the population of South Uist remained Roman Catholic. Howmore Church, built in 1858, is therefore rather unusual; doubly so as it is one of the few churches in Scotland with a central Communion table. The church is white-harled and used as a landmark by fishermen off the west coast.
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In the 16th century, the nave was separated into three parts by two pillars and the Gothic window of the choir was enlarged. Under this window, a communion table was made from a slab of a former baptismal font. The church is located on a hill that overlooks the village. It was listed among the Swiss Cultural Property of National Significance.
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Central communion table (2019) East Kirk with Glas Bheinn behind and the grey bald An Ruadh-stac far right (April 2020) The now deconsecrated Lochcarron Old Parish Church was completed in 1836 . It was Presbyterian, Church of Scotland. Located in Ross-Shire, Scottish Highlands. Originally known as 'An Eaglais Mhor' which means 'Big Church' but often also known locally as: East Kirk.
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The roof dates from the medieval period. The chancel arch is in Norman style, and to its right is a squint. In the chancel is a piscina in a recess in its south wall, and in the north wall is a double aumbry. The 1849 restoration removed most of the fittings, but a Jacobean pulpit and communion table are still present.
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Its tracery is elaborately carved with a vine-trail rail, and depictions of such subjects as the Instruments of the Passion, and pigs eating acorns. The font has a "bowl of weird organic forms". Also in the church are painted Royal arms dating from before 1801. The Gwydir Chapel contains 17th-century fittings and fixtures, including stalls, a lectern and a communion table.
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A wooden rail with velvet curtain sets off the edges. It has a lectern in the center and space for a choir at the east. Its furniture, apparently original, includes carved Eastlake chairs and a communion table, in addition to a piano and organ. To the west is the community room, a large open space with kitchen and bathrooms partitioned off at the end.
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After his controversial anti- Catholic sermon, The King's Sword, he was also assigned as a preacher at Putney.Grossart, Rev. Alexander B., Introduction to The Songs of Sion of Dr. William Loe, 1870. While Dean of Gloucester Cathedral, Loe ordered the removal of the communion table, showing his opposition to Laudian reforms.Chelsea Rice McKelvey, The ‘Glorie, Might, & Maiestie’ of Early Modern Sermons, Literature and Theology, p.
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Altogether, he exercised his ministry in Gloucester for fifty-eight years, less one month. He died 31 May 1712, aged 83, and was buried under his own communion-table. His funeral sermon was preached by John Noble of Bristol. Edmund Calamy, who represents him as the model of a nonconformist divine, states that at his death he left gifts to charitable uses, including his library.
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Also original are the communion table, with doves carved on the legs, the communion rail, and the churchwardens' pews with iron hat stands. The font was made by the church's mason, Christopher Kempster, and has an ogee cover. The joiners for the original furnishings were Fuller and Cleer, and the carver William Newman.A. Saunders, The Art and Architecture of London (Phaidon 1988), p. 51.
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During Macmillan's incumbency, the church was restored and the interior reoriented around a central communion table, the interior floor was levelled and undercroft space was created by Bernard Feilden. St Giles' remains an active parish church as well as hosting concerts, special services, and events. In 2018, St Giles' was the fourth most popular visitor site in Scotland with over 1.3 million visitors that year.
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At the vestry end, on a raised platform, stood the communion table and a desk.Larkin, 2009 The new building was opened for worship on 16 November 1899, with public services taking place on 26 November and 3 December.Mellowes, 1977, p 78 The Minister of Fairfield at the time, who led this work of outreach, was Br Samuel Kershaw. Average attendance in the first month stood at eighty.
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The building is one of Britain's largest parish churches and contains many unusual features and artifacts which include the intricately carved telescopic baptismal font cover, a massive iron-bound chest with seven locks, medieval misericord seats, remains of a highly decorated parclose screen with an array of painted saints, a unique Communion Table, and the highly ornate marble tomb of Sir William Paston, 1st Baronet, 1528-1610.
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The fittings are from the late 19th century, although the octagonal font (made of gritstone) is of uncertain date, possibly 14th century. The bell is dated 1647. A survey in 1937 by the Royal Commission on Ancient and Historical Monuments in Wales and Monmouthshire recorded the presence of an 18th-century communion table, an Elizabethan cover-paten dated 1574, and a silver cup dated 1769–1772.
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One side of the church would be extended into the car park, giving more circulation and cloakroom space and an extra meeting room. On the wall opposite would be the communion table, flanked by a pulpit and reading desk made from the existing large pulpit. The congregation would be seated in a semi-circle facing the table. A small gallery was to be provided for the organ.
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However the church interior was surrounded by galleries on all four walls. In 1660, two years after the Restoration of the Monarchy, John Cosin, Bishop of Durham, consecrated the church. He demanded that a chancel should be built at the east end to accommodate a communion table. However, this was not done until 1855 when the present chancel was built and many original Gothic windows were redesigned in the Classical style.
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The church of St James Garlickhythe was rebuilt by Wren between 1676 and 1683. The reredos (from which the pediment has been removed), the communion rail and communion table, and the churchwarden's pews, are among the original furnishings.Bradley and Pevsner, London: the City Churches, p. 93. 'The woodwork and carving throughout are exceptionally good, the joiners having been (J.) Fuller and (William) Cleer and the carver William Newman.'A.
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The hinges of the door and the trap door are probably original. The lower chamber is now used as the Vicar's vestry and there is an oak bier, dated 1706, in the upper chamber. In this aisle is a tombstone of Elizabeth Hooker (1666), another with the brasses torn off and an oak table thought to have been used as a Communion table during the time of Cromwell.
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The chancel, Communion table and tables of the law &c.; are > still there and in good order. The roof only is decaying; and at the time I > was there the rain was dropping on these sacred places and on other parts of > the house. On the doors of the pews, in gilt letters, are still to be seen > the names of the principal Families which once occupied them.
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The side aisles are carpeted. A raised platform enclosed with low timber rails at the front of the church is also carpeted, containing a simple timber altar and elders' chairs. A hexagonal timer pulpit is located to the left of the communion table area and is decorated with a timber veneered depiction of the Uniting Church symbol. A recent timber screen separates the raised choir platform and organ loft.
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On the south side there were also two aumbries (cupboards). There is a stone staircase which lead to a first-floor room - accommodation for the chantry priest. The arch into the organ chamber was built in 1885 as was the choir vestry which is lit by a window to the right. To the left of the Communion Table, prior to the Reformation, was a large statue of St Peter.
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Scott Morton & Co. provided eight oak stools in 1934. As a memorial to George V, a communion table with a short retable was commissioned from Scott Morton & Co. and designed by John Fraser Matthew. The front of the table shows the Lamb of God and the retable bears emblems of each person of the Trinity. The table replaced the chair of investiture at the east end of the Chapel.
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Laud became Dean of Gloucester in 1616. At Gloucester Cathedral he began ceremonial innovations with the communion table. By local custom, the table stood in the middle of the choir, as was then usual in a parish church, rather than at the east end as was typical of cathedrals. Laud believed he had the king's blessing to renovate and improve the run-down building, but he offended his bishop, Miles Smith.
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Lower Lake Community United Methodist Church, built with a redwood frame, was constructed in the 1840s during Lower Lake's agricultural period. Later, work was done to the roof to fill in the small gaps between the wooden planks. The church's attic contained 20 handmade wood chairs, antique dowels and a communion table built by a member of the church. In August 2016 the church was destroyed in the Clayton Fire.
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Her death was mistaken for the death of Mary Beadle, whose recorded death is on 28 December 1697. Not much is known about her death besides that she died in a house on Pall Mall and was buried under the communion table of St James's Church, Piccadilly on 8 October 1699. Her tomb was destroyed by enemy bombs during the Second World War. A memorial to her lies within the church.
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St James is built of Doulting freestone, with slate roofs, in the Early Decorated style. It is made up of a five-bay nave, chancel, south transept, north vestry, and south tower, with porch underneath and broach spire above. The church was designed to seat 130 persons. Many of the church's original fittings were carved from oak, including the open hammer-beam roof, open sittings, communion table, reading desk and pulpit.
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Cast-iron columns supporting panelled gallery around three sides. Communion table in front of ornately carved timber pulpit with stair access and timber gothic panelled organ and case behind. The Church Hall was designed by Malcolm Ross and constructed in 1903. This provided much needed space with a Large Hall, Small Hall, Kitchen and Toilets and originally contained the Church Officer's accommodation, now extra hall and office space.
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Toup was buried under the communion table of the church. A small marble tablet was erected to his memory on the south wall of the church by his niece Phillis Blake. The tablet states that the excellence of Toup's scholarship was "known to the learned throughout Europe." The inscription on a round brass plate beneath the tablet records that the cost was defrayed by the delegates of the Oxford University Press.
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At Duns the church was rebuilt (opened 1888) in a plan used in the Middle Ages, with a separate chancel, communion table at the far end, and the pulpit under the chancel arch. The influence of the ecclesiological movement can be seen in churches built at Crathie (opened 1893), which had an apsidal chancel raised above the level of the nave, a stone pulpit and a brass lectern, and St. Cuthbert's, Edinburgh (rebuilt 1894), with a marble communion table in a chancel decorated with marble and mosaic.N. Yates, Liturgical Space: Christian Worship and Church Buildings in Western Europe 1500–2000 Liturgy, Worship & Society (Aldershot: Ashgate, 2008), , pp. 128–9. The interior of The Parish Church of St Cuthbert, Edinburgh, remodelled according to ecclesiological principles in 1894 A sub- set of the Medieval revival were Neo-Romanesque churches, often called "Norman" at the time, built in a style that incorporated Romanesque, Byzantine and Anglo-Saxon features within a low-massive framework.
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The gold and white wooden altar was moved to the sacristy and a brown granite one from Chicoutimi was installed in its place.Église de Saint-Michel-de- Sillery from Églises de Québec, retrieved 1 June 2015 The choir stalls were removed and a wooden balustrade was replaced by a communion table made of iron. The pulpit was removed and new pews were installed. The stations of the cross were replaced with metal ones.
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The arms of the cross are called the transepts and often contain a number of chapels. Farthest from the main entry is the sanctuary where the Blessed Sacrament is laid on the altar or communion table for the consecration. "Sanctuary" means "Holy Place". The word has passed into modern English with an altered meaning because traditionally a criminal who could gain access to this area without capture was thereby given the sanctuary of the church.
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Internally there are galleries on three sides. The reredos is a First World War memorial by E. Carter Preston dated 1920, the communion table is in Rococo style and is a survival from the first chapel. The font is a baluster dating from the 18th century with an Arts and Crafts cover. The pulpit (altered) dates from the 18th century and most of the box pews survive, albeit most with doors removed.
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Pulpit of St Cuthbert's Church The central focus of the east end of St Cuthbert’s is the communion table, which was ready in time for the opening of the church in 1894. The table is white marble, its front is divided into three compartments by Corinthian pilasters. The central compartment contains a cross of Aventurine marble with a golden centre and porphyry infill. The cross imitates the cross found in Saint Cuthbert's tomb.
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Also on the left is a porch with an octagonal turret. The chancel in Arts & Crafts style The interior is "a rare, remarkable, example of English Arts and Crafts furnishing in a Nonconformist chapel". Its fittings were designed by craftsmen and designers from the Bromsgrove Guild. These include Bernard Sleigh who painted the panels on the ends of the choirstalls, communion table and pulpit, and Benjamin Creswick who carved the figures on the choirstalls.
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By 1811 the Communion Table was raised by two steps and had 17th- or 18th-century rails on three sides. The pulpit was positioned against the second pillar from the east on the south side, a typical 17th-century position. The interior had high box pews. Over the north aisle a gallery covered all but the two eastern bays, and over the south aisle a gallery covered all but the two eastern bays.
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Wills of the late 1450s also suggest there was a choir, two choir masters, song books and an organ. In the corner at the north-west is an opening which accessed a loft on top of the rood screen. The reredos was designed, in 1952, by Munro Cauntley of Ipswich, as were the communion table and rails, They were carved by Edward Barnes of Ipswich, in memory of Mary and George Reeder.
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A pair of automatic, glass and timber framed doors separate the porch from the nave. The nave is carpeted, has a central aisle and recent timber pews. The choir and organ are located in the chancel, along with the pulpit, baptismal font, communion table, carved timber memorial chairs, war memorial boards and flags. The organ pipes are centrally located at the back of the chancel and are covered with a timber grille.
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The interior was substantially remodeled in 1924. In addition to new vestries beyond the old north exterior wall for the Minister and choir, the front of the church was fitted with beautiful oak furniture. This included choir stalls to right and left; a communion table, chairs and a memorial screen for the war dead; and a new pulpit between the table and the Minister's vestry. The cost of these works was over £3,000 .
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The sanctuary has two sets of pews divided by a broad center aisle. A serpentine balcony supported by iron columns covers the northern third, with a glazed screen creating a narthex. At the south end, a pulpit and lectern front a dais with Communion table in front of a dossal curtain is set in a crenellated Tudor Gothic wooden surround between two sets of organ pipes. On either side are the choir risers.
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The font and its marble base was gifted by the vicar of Maker and the communion table by the church's builder, Mr. Carne. The church's windows were filled with cathedral glass. Following its dedication, construction work was completed by the end of the year. By November, the north porch had been added, other parts of the building finished and the east end window installed with stained glass made by Messrs Fouracre and Watson of Stonehouse.
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Alexander Dunn. The church is one of the few churches in the country that still has an operating pipe organ. In keeping with presbyterian traditions there is no altar in the church, instead there is a communion table. There are a number of marble memorial plaques on the walls, including a plaque in memory of the co-editor of The Ceylon Observer, Donald S. Ferguson, who passed away in Scotland in 1911.
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An illuminated scroll is banded closely round the label moulding of the same window, and bears an appropriate inscription. The backs of the sedilia are coloured ultra-marine, with fluer- de-lis. The floor is paved with red and buff encaustic tiles, the estrade being of a richer pattern. The communion table consists of a massive oak frame supporting a slab of blue lias—the whole covered with ante-pendium of rich velvet elegantly embroidered.
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During the last restoration, the plaster ceilings in the chancel and the remaining south transept were removed, exposing roof timbers from the 15th century. There is a reredos and communion table by Lord Mottistone in the Wrenian style. These are placed halfway along the chancel so that a vestry is formed behind. A wooden font and cover dates from the 18th century and is kept at Cottesbrooke Hall and may be viewed by appointment.
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They attracted the attention of William Laud. Accepted Frewen, then president of Magdalen College, Oxford, relocated the communion-table in the college chapel, making it into an altar according to Puritan views. Several of the preachers at St Mary's Church inveighed against this innovation. Ford in his turn preached (on 2 Thess. ii. 10) 12 June 1631, and offered some reflections on making the Eucharist a sacrifice, setting up altars instead of tables, and bowing to them.
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Brackets in chancel east wall, in form of moulded capital, late-13th-century, now cut back to wall-face. In south transept east wall, rectangular shelf with 'ball-flower' ornament and a carved head below, early-14th-century Communion Table: with turned legs, moulded top rails with shaped brackets, plain lower rails, c. 1630–40, top modern. There are two chairs in the chancel with moulded and twisted legs, front rail, and back- uprights, of c. 1700.
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Philip Browne, writing in 1814, said that, despite its ancient foundation "the present building has a modern appearance", adding that "the inside is very neat, but has no monumental inscriptions. The communion plate is all of silver, and is modern and elegant. Instead of a communion table, the East end is fitted up with a real altar." Excavations in 1972 revealed the sequence of the development of the building from the 11th century to the 16th century.
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Slaves became a particular focus of his ministry, and several contemporaries noted how Davies converted African slaves at unusually high numbers. Davies used the educational materials he received from his sponsors in Great Britain to instruct slaves, and also composed his own hymns. The classic spiritual "Lord, I want to be a Christian" reportedly originated at Polegreen. Rev. Davies eventually baptized hundreds of slaves as Christians, and they joined other members of the congregation at the communion table.
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All the windows on the north aisle were restored, with one entirely replaced, by Claxton and Gunn of Stowmarket. The Communion Table was raised. Most of the church floor, including the sanctuary was laid with encaustic tiles by Maw & Co. Gas lighting and underfloor heating were introduced, and in the tower the north and south archways were opened to allow for an entrance porch. In 1885 Norwich architect Herbert John Green designed a new organ-chamber and choir vestry.
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An oak Communion Table and Reredos date from 1920. Around the walls of the church are a variety of memorial tablets commemorating notable local citizens, former ministers and those lost in war as well as tablets marking commemorative events. The two light East window is a memorial to Elizabeth Dunston who died in 1899 and her husband John Dunston who had died in 1876. Another window in the nave is in memory of John Fleming, who died in 1894.
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The churchwardens went as far as raffling a chestnut horse in order to raise the monies needed."Miscellanea" The Telegraph 5 June 1880 p2. Accessed at Trove 8 January 2017. Eventually, the church ceiling was lined and a bell was installed."Bishop Hale at Woolloongabba" The Telegraph 25 July 1881 p2. Accessed at Trove 8 January 2017. In 1884, a communion table was purchased."Woolloongabba Church" The Brisbane Courier 25 April 1884 p5. Accessed at Trove 8 January 2017.
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The church had lancet windows in three of the four-bay nave and in other parts of the church. A three-light window was built in the chancel and two-light windows at the end of each transept. The font was built of Caen stone, while other fittings such as the pulpit, reading desk and communion table were of wood. A new organ was opened at the church on 26 January 1862, made by Mr. J. Eagles of London.
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Francis Sowter, on 8 October 1896. The restoration included repainting the walls with distemper, cleaning and repairing the windows, and replacing the stone flooring with wooden blocks. The height of the chancel floor was raised from that of the nave and the communion table received its own platform. The church's square pews, which had originally come from St Thomas' Church in Salisbury, were replaced with new benches of carved oak, which provided seating for approximately 100 people.
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There are six stained glass windows along either side of the nave, set between the buttresses. Exposed arched trusses in dark stained pine support the roof structure and dominate the internal ceiling. The dais contains a number of wooden furnishings have been carved from silky oak timber. The furnishings include purpose-designed furniture including three rows of seats, two elaborately carved chairs for the Moderator at Communion Services and the pulpit, the communion table, and the pulpit.
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It re-opened on 4 August 1863. A few weeks later it was reported that a new Oak communion table had been provided by Captain Prince, The Study, Bonsall, a stained glass window depicting the Apostles Peter and Paul by Edmundson and Son of Manchester had been given by the Revd. Robert Bickerstaff, Rector of Killead, Antrim, a pair of Glastonbury chairs from Revd. G. Bagot, and carved panels for the pulpit given by Mr. Clay.
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The internal layout is generally similar to the original with paired aisles between the rows of early carved timber pews facing the raised dais, carved communion table and pulpit. The present configuration of the raised front dais and northern choir stalls, however, largely dates to 1959 (with some more recent alterations) when architect Finlay Munro prepared plans which provided for the extension of the area around the communion table dais to the north and south walls, the relocation of the choir facilities from the north-east corner, the cutting back of steps into the vestry and the installation of new steps up to the main "elders dais". Further changes were made in the 1970s-80s with the removal of the original Dodds organ to the west end of the church and the infilling of the central arch with sawn stone above a relocated timber panelled dado. The layout of the choir stall against the north wall also generally dates from 1959 though much of its fabric was reused original material (including carved panelling, etc.).
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Saarinen did not believe in forced symmetry because it created an artificial and sterile environment. Instead, he chose to focus on creating balance between various features and points of interest in the room. To this end, the cross at the end of the chancel is off center, but the communion table, integral to the service, is placed at the central axis of the church. Symmetry is used to accentuate the spirit of the service, instead of creating an artificial environment.
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The galleries on the east, south and west sides are accessed by staircases with turned balusters. The galleries are supported by six turned Doric oak columns which continue through the gallery to support the plaster ceiling. A nail studded oak door separating the chapel from the vestry is thought to be from the original 1645 chapel. Other surviving artefacts brought from the 1645 building are the communion table and two Commonwealth silver communion cups gifted by Robert Mort in 1654.
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St. Paul's Church () is a Reformed Church in Basel, Switzerland, part of the Evangelical-Reformed Church of the Canton Basel-Stadt. The church was constructed between May 1898 and November 1901 by Karl Moser (1860–1936) and Robert Curjel, and features a Neo-Romanesque architectural style. The apse is fitted with a stone pulpit that is raised behind a stone communion table. The apse also features a gallery, with a central arch behind the pulpit, in which the organ and choir are placed.
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A few years afterwards, in 1580, Thomas Legh of Adlington acquired the manor and advowson and became Lay Rector of Prestbury. The Legh family has held the manor and advowson of Prestbury ever since. St Peter's Church before the general restorationPublic worship in Latin was abolished by the Acts of Uniformity. A pulpit was erected in 1560. The high altar and the rood loft were taken down during the years 1563-72 and a moveable Communion table was set up.
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St Peter's church, on West Head Road, is a Church of England chapel of ease for Stow Bardolph, now shared with the Methodists. It was built of glazed terracotta blocks in 1908 and is a Grade II listed building. The church has a stained glass window to the memory of the Reverend James Adams (1839-1903), vicar of Stow from 1895 to 1902, who had held services in a schoolroom. The communion table was his portable altar, presented by his widow.
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He admits reluctantly that "Sure there was wine...there was corn..." (Lines 10-11), but these payments are washed away by his inability to be grateful for such things. Wine and corn may symbolize bread and wine used in Communion, which calls back to the image of the speaker slamming his hand down on a communion table. In line thirteen, the speaker wonders, "...the year only lost to me?", showing that he questions whether he is the only one not receiving God's favor.
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In the 1960s, under the leadership of The Revd Douglas Lister, the Church was re-ordered to accommodate a restoration of the Scoto-Catholic Movement in The Church of Scotland which brought back a sense of "dignity" to worship. The Communion Table was restored to its prominent place in the centre of the chancel, a new pulpit was commissioned and placed at the north side of the chancel and the lectern at the south side. A central aisle was created.
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Herbert Blaxland became a doctor and was appointed Medical Superintendent of the Gladesville Hospital.Sydney Morning Herald, 13 April 1904, p. 10. During their lives John and Ellen had a strong association with St Anne's Church, Ryde and today there still exists a Communion table in the Church with the following inscription. :“To the glory of God and in memory of John Blaxland and Ellen his wife (née Falkner), of the Hermitage, Ryde.”Sydney Morning Herald, 1 May 1926, p. 8.
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The effect on his mind was shown on his return home when he persuaded the Anglican rector to place a cross on the communion table, but this first effort to restore the cross to English churches was stopped by the Bishop of Peterborough. He converted to Catholicism, and immediately removed from Rev. Hodson's school, and returned home with his father, who arranged for him to continue his preparation for the university under the private tuition of the Rev. William Wilkinson.
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The elements of the Eucharist, sacramental bread (leavened or unleavened) and sacramental wine (or grape juice), are consecrated on an altar (or a communion table) and consumed thereafter. Communicants, those who consume the elements, may speak of "receiving the Eucharist" as well as "celebrating the Eucharist". Christians generally recognize a special presence of Christ in this rite, though they differ about exactly how, where, and when Christ is present. While all agree that there is no perceptible change in the elements (e.g.
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There is evidence of a Saxon church on the site before the Norman Conquest. In 1187-90 Adam de Dutton founded a priory on the site for Norbertine canons but this was short-lived and there is now no trace of the priory. It is likely that the building of the present church began in the middle of the 13th century. Towards the end of the 16th century, the chancel area was remodelled and a pulpit, altar rails and communion table were installed.
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A 1937 survey by the Royal Commission on Ancient and Historical Monuments in Wales and Monmouthshire noted a wooden communion table, dated 1667, and some interior memorials dated 1724 and 1731. It also recorded that the churchyard contained an 11th-century churchyard cross, which had at one point held a sundial. Most of the fittings inside the church date from the mid-19th century. The pulpit has two carved panels, one depicting Christ and the other a Madonna and Child.
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D. W. Music, Christian Hymnody in Twentieth-Century Britain and America: an Annotated Bibliography (London: Greenwood Publishing Group, 2001), , p. 10. Proposals in 1957 for union with the Church of England were rejected over the issue of bishops and were severely attacked in the Scottish press. The Scottish Episcopal church opened the communion table up to all baptised and communicant members of all the trinitarian churches and church canons were altered to allow the interchangeability of ministers within specific local ecumenical partnerships.
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In some cathedrals (including Canterbury), the precentor is a minor canon and therefore part of the foundation but not part of the chapter. The pulpit and communion table from the Church of Scotland church in Duirinish, Skye. Between the two is the box for the precentor. Traditionally the precentor's stall (seat) in the cathedral is on the opposite side of the quire from that of the dean, leading to the traditional division of the singers into decani (the dean's side) and cantoris (the precentor's side).
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As a result of the Reformation, the use of ceremonial lights was either greatly modified, or totally abolished in the Reformed Churches. Candles and lamps were only used to provide necessary illumination. Since the twentieth century, many churches in the Reformed tradition, especially in the United States, commonly use two or more candles on the Communion Table, influenced by the liturgical movement. The use of the Advent wreath has gained near universal acceptance, even in churches traditionally hostile to ceremonial lights, such as the Church of Scotland.
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Some of the fittings were moved from the old church. These include the chancel rails in rococo style, and a communion table in the north chapel dated 1654. The stained glass in the north side of the chancel are from the 17th century. Later fittings include a reredos and sedilia in alabaster dating from 1879 containing mosaic and statues, a rood beam with figures from 1925, and an altar with a canopy in a chapel at the northwest of the church dating from 1921.
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The nave was decorated by Edmond Rocchiccioli between 1970 and 1975 while the choir was decorated between 1992 and 1997 by Russian artists Anastassiya Sokolova and Valeri Tchernoritski. In 1999-2000 the church was completely restored in a project jointly financed by the Assemblée Régionale Corse, the Conseil Général de la Corse du Sud and the Commune of Cargèse. The building consists of a barrel-vaulted nave with two semicircular side chapels. The choir is separated from the nave by steps and the communion table.
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The second church, just opposite the cemetery, was sold to the Methodist Episcopal congregation in 1844 and continues to be used for that purpose. The reunified church, now part of the Washington Union Baptist Association with other congregations in the county, soon found other issues to replace anti-Masonry, which had died out. In 1850 the church passed another resolution stating that it would not have a minister who owned slaves and that slaveowners would not be welcome to sit at the church's communion table with them.
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After they went to the church to worship. Rev. Ichabod Spencer preached a sermon and quoted Luke 12:32, “Fear not little flock, it is your Father’s good pleasure to give you the Kingdom.” After the sermon they took communion with the large congregation that had gathered to see them off, and a collection of $54.00 was given to supply the infant church with new vessels for the communion table. The church is now a member of the National Association of Congregational Christian Churches.
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St. Martin's Church is a rectangular-plan Georgian styled church constructed of brick laid in Flemish Bond with glazed headers. The church is oriented with the main entrance to the south, a secondary entrance to the west, and the communion table to the east. The south facade is three bays wide, with the central bay occupied by the doorway and a large transom which extends to the height of the neighboring windows. The east and north sides of the church each have two bays.
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The cornerstone was laid on August 17, 1898, and laid within the stone were a Bible, a hymnal, a copy of the Church Discipline, several church papers, and some coins. The stone was made and presented by Z.T. Stocks, a stonemason. The interior of the church building follows the Akron Plan, which typifies many Methodist churches in the American West. The plan, which originated in Akron, Ohio, emphasizes good acoustics, good sight lines, and flexibility, with a focus on the pulpit and communion table.
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The organ and communion table were provided by another bequest in 1905, and in 1915–16, Lady Ogilvie Dalgleish paid for new flooring, the installation of heating and gas lighting, a pulpit and chairs for the priests and elders. Electricity was installed in 1934 at the expense of Mr William Watson of Scone. The silver font dates from 1778 and was removed from the 1765 church. The church has been a category A listed building since 1971, its boundary walls and gatepiers being included in the citation.
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Tomb in St Mary the Virgin's Church, Bottesford His tomb, in the centre of the chancel next to that of his father, is of alabaster and considered unique. The effigies lie beneath a decorated example of an Elizabethan dining table on heavy carved legs, suggesting an attempt to represent a communion table. Earl Henry is depicted in armour of conventional pattern except that the breast plate is made up of laminated plates. He wears a coronet and his head is supported on a tilt-heaume.
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The square chancel was retained but the old organ gallery was removed and the organ placed upon a platform at the rear of the chancel and raised about three feet above its floor. The rail was returned against this platform, giving a three- sided kneeling space. The original communion table was replaced by a slightly larger one; painted carved and covered with a marble slab. It was placed at the center and rear of the chancel, which was very shallow on account of the organ platform.
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After a long illness Eyre died on 28 or 29 March 1803, and was buried in a vault on the south side of the communion-table in Homerton Chapel, 5 April. His funeral sermon was preached by Rowland Hill. In November 1785 he had married Mary Keene, from near Reading, who died at Well Street, Hackney, 20 June 1827, aged 69, and was buried by her husband's side on 29 June. Eyre's sermon at the opening of Cheshunt College was published, with related documents, in 1792.
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The three rows of seats on the dais were designed for comfort and a number of variations were considered before the final version was selected. There are also two elaborately carved chairs, one for the Moderator at Communion Services, the other at the pulpit. The communion table and the pulpit itself were also of elaborate design and included panels that bore carved emblems of the Presbyterian Church. The baptismal font had been previously gifted to the community and was transferred from the 1882 church.
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Church attendees decided to return to St. George's Tron, others to Dennistoun Blackfriars and many came back to the place where Barony originated from, Glasgow Cathedral. Some of the relics from the Barony Church were taken back to the cathedral, including the Communion Table, and a chapel was established in the cathedral's crypt. The church was in use for over 100 years and the last service was held on 6 October 1985. All the Castle Street buildings were acquired by Strathclyde University a year later, in 1986.
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The old pulpit was used to create a smaller pulpit and the lectern. The new apse on the west side forms the back of the sanctuary area and the communion rail and the communion table of oak were crafted by Edmund (Teddy) Forster of G. W. Gooch and Sons of Norwich who were the contractors for the alterations. The pitch-pine pews were removed and chairs are now used in varying formations. The re-opening of the extended and modernised premises took place in October 1983.
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The south wing, or transept, was converted to a small chapel in 1975. Initially called St Andrew's Chapel, this has come to be known as the Cameron Chapel. The Cameron name relates to the presence of a large stained glass window given by the Cameron Highlanders to the church, in 1930, which can be found in this part of the building, plus accompanying plaque and a regimental flag. A new communion table and plinth were specially commissioned for the opening of the chapel in 1975.
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Jesus Church in Valby, Copenhagen. A wide variety of altars exist in various Protestant denominations. Some Churches, such as the Lutheran, have altars very similar to Anglican or Catholic ones keeping with their more sacramental understanding of the Lord's Supper. Calvinist churches from Reformed, Baptist, Congregational, and Non-denominational backgrounds instead have a Communion Table adorned with a linen cloth, as well as an open Bible and a pair of candlesticks; it is not referred to as an "altar" because they do not see Holy Communion as sacrificial in any way.
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The top stage of the tower was added in the 20th century in a different style and colour. The auditorium, with seating capacity of about 1,500, is nearly oval, with two tiers of galleries and large open roof span. The galleries too are nearly oval, except that the 'circle' of the upper gallery is incomplete so as to accommodate the pipe organ. There is a high platform or daïs toward the front of the Chapel, accommodating the Communion Table and chairs for the presiding minister and the serving deacons.
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A communion table in the style of the time ran the full length of the passageway, with seats on each side and a recess at about the middle of the table for the minister to take the communion service. Except on Sacrament Sundays, these seats were reserved for the poor as a place of honour. The main part of the floor was earthen, at some stage covered by open timber slats. The earth could still be seen between the slats, and over the years a number of coins fell through.
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Memorial marking the site of the Old Hartslog Meetinghouse The first building was a primitive structure, without floor, with split log benches for the worshipers, and without heating facilities. In 1787 a floor was laid, six large windows set in, a large door constructed, and a pulpit and a communion table made. In 1794 it was laid off into four sections, and fitted with pews; which were rented. Each section was 120 square feet, from which we judge that the building was not more than 40 feet square.
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An eastern apse and raised chancel were created at the eastern end, with an ornately tiled floor, and brass enclosure. The visual focus of the building, and the focus of the liturgy changed from the pulpit to the communion table and the sacrament of the Eucharist.Kenneth Cable, St James' Church, Sydney, Churchwardens of St James Church (2000) In reference to the discussions about the changes, Carr Smith is quoted as saying: The new chancel made room for a robed choir, and eucharistic vestments. Pictorial stained glass windows were ordered from England from Percy Bacon Brothers.
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The church was restored in 1953 and again in 1981-1982, then under the direction of Marcel D. Mueller, an architect of Belgian origin, and a member of the congregation. The building is of interest for its asymmetric architectural shape and its finely crafted timbered roof, both inspired by rural English and Scottish churches. In addition, its interior layout and furnishings are original: the pews, the raised central pulpit (reached by two converging staircases), the Communion table and the celebrants’ seats were realised according to the designs of Viollet-le-Duc.
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There are no communion rails; but, as you > advance to the communion table you ascend three steps. The windows are large > and handsome, with some small remnants of painted glass. The seats and pews > both in the nave, the cross-aisles, and the chancel, somewhat resemble the > stalls in cathedrals, but are very simple, with little or no ornament, > nearly alike, and formed of oak. It was evidently the intention of Mr > Herbert that in his church there should be no distinction between the seats > of the rich and those of the poor.
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Seating was installed for children and the burgh's council and trade guilds and a stool of penitence was added. After the Reformation, St Giles' was gradually partitioned into smaller churches. At the church's restoration by William Hay in 1872–83, the last post-Reformation internal partitions were removed and the church was oriented to face the communion table at the east end; the nave was furnished with chairs and the choir with stalls; a low railing separated the nave from the choir. The Buildings of Scotland series described this arrangement as "High Presbyterian (Low Anglican)".
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Also brought from the old church was "a curiously designed table said to have been used as a communion table", two sanctuary chairs (one in Jacobean style), and a chest. In addition, a royal coat of arms of George III, and a benefaction board dating from about 1700 were moved from the old church. The oldest memorial is to two women described as "both good wives" who died in 1672. The next in age is a large tablet to the memory of Thomas Brooke, who died in 1737.
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A very tall and elaborately panelled timber reredos is set against the painted battened fibro rear wall of the chancel. The first organ was originally set against this, but has been replaced by a timber altar table (). Other chancel furniture includes a communion table and chairs A very fine and recently restored organ of considerable historic interest (refer to history) is built into a transept extension (1935) on the eastern side of the chancel. Two vestries connect the church to two halls at the rear, one larger Sunday school hall and a second kindergarten hall.
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Either side of the central compartment are compartments decorated with mother of pearl and lapis lazuli. Presbyterian churches have traditionally centred on the pulpit rather than the communion table and, shortly after its unveiling, the Glasgow Herald condemned the table as a "stone altar". On the south side of the chancel arch stands the marble pulpit: designed by Hippolyte Blanc, the pulpit was installed in 1898 to replace an earlier wooden pulpit. The pulpit stands on four red marble pillars – quarried at Sant'Ambrogio near Verona – with white Ionic capitals.
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17th century print of the exterior of the English Reformed Church, from Beschrijvinge van Amsterdam by Tobias van Domselaer (1611-85) Interior of the English Reformed Church, Amsterdam. The text for Paget's inaugural sermon is discernible on the wall behind the communion table. Paget's work clearly attracted favourable attention, as in 1607 the Presbytery of Amsterdam appointed him minister of the newly founded English Reformed Church in the city. The church building had belonged to the semi-monastic Beguines: the square in which it stands is still called the BegijnhofSteven, p. 272.
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The two had journeyed far from home to evade ecclesiastical difficulties; she was his first wife's sister, and the marriage was forbidden by canon law, but not void if no one objected when the banns were read. In 1838, when the well-known ship Temeraire was broken up, some of her timbers were used to build a communion table and two bishop's chairs in the Rotherhithe church. The interior of the church was much altered in 1876. Between 1996 and 1999, the bells were restored and re-hung, and essential repairs made to the spire.
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As befits a church near the merchant activity on the river, there are several maritime connections. The communion table in the Lady Chapel and two bishop's chairs are made from salvaged timber from the warship HMS Temeraire. The ship's final journey to the breaker's yard at Deptford was made famous by Turner in his evocative painting The Fighting Temeraire, now in the National Gallery. In the church a memorial marks the final resting place of Christopher Jones, captain of the Mayflower, which took the Pilgrim Fathers to North America in 1620.
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They would spend more money on buying Bibles and Prayer Books and replacing chalices with communion cups (a chalice was designed for the priest alone whereas a communion cup was larger and to be used by the whole congregation). A 17th-century communion table in St Laurence Church, Shotteswell The Injunctions offered clarity on the matter of vestments. Clergy were to wear the surplice (rather than cope or chasuble) for services. In 1560, the bishops specified that the cope should be worn when administering the Lord's Supper and the surplice at all other times.
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They were made of lead or another base metal, and came in a variety of shapes: round, oval, square or oblong. Earlier tokens had the ministers' initials on them, and many had the name of the church. When the Free Church of Scotland was formed in 1843, many tokens were issued with this year – these were used as stock tokens in many congregations. The burning bush is found on many tokens, as are objects such as a Bible, communion cup or communion table, or else Christian symbols such as the fish, lamb or cross.
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Hence, the Commission insisted that the communion table should be set apart in a shallow eastern apse or sanctuary behind a communion rail; and raised on three steps so as to be visible from all seats in the church. Larger churches should have galleries along the sides and west end, to provide the required seating capacity; the largest Commissioners Churches could seat a nominal congregation of 2,000. Except in the side galleries, all seats should face (ritual) east. The baptismal font should be at the west end of the church, accommodated within a christening pew.
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The pulpit is the focal point of the Sanctuary, with the choir loft and organ above and communion table below. There are no Biblical figures or saints depicted in the Sanctuary, reflecting an iconoclastic austerity prevalent among 19th-century Presbyterians, who believed no one should be venerated other than God. One exception is the woodcarving on the front of the pulpit (above), which features the symbols of the four Gospel authors—Matthew (angel), Mark (lion), Luke (ox) and John (eagle). Unlike most Gothic churches, the interior of the sanctuary has no right angles.
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A 1937 survey by the Royal Commission on Ancient and Historical Monuments in Wales and Monmouthshire noted a 1726 communion table and a number of memorials from the 17th, 18th and early 19th centuries. The chancel measures 12 by 12 feet 6 inches (3.65 by 3.8m); the north transept is 17 by 14 feet 6 inches (5.2 by 4.4m); the south transept is slightly smaller, at 17 by 14 feet (5.2 by 4.25m); and the nave after its 1892 extension is now twice as long as the chancel, at .
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John Rudge had St. Andrew's remodelled early in the 18th century, and this Georgian work obscures most Medieval features except those above. The church retains its Georgian features and fittings, including a Venetian east window and 18th century box pews. The wooden communion table is a high-quality carved piece from about 1745, that Sherwood and Pevsner considered similar to the work of John Vardy. St. Andrew's contains several 17th and 18th century monuments to members of the successive manorial families, including one to John Rudge made in 1739 by the Flemish sculptor Peter Scheemakers.
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40 The church was rebuilt in 1777 by Robert Smith, and the interior was altered in 1883 by Thomas Ustick Walter. Interior in 2012 The baptismal font in which William Penn was baptized is still in use at Christ Church; it was sent to Philadelphia in 1697 from All Hallows-by-the-Tower in London. Another baptismal font and the communion table were crafted by Philadelphia cabinetmaker Jonathan Gostelowe, who served on the vestry in the 1790s. Christ Church's congregation included 15 signers of the Declaration of Independence.
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The chancel has a screen, altar, lectern and planter that also incorporate triangular forms. Behind the screen is a single flight of stairs to the ground floor. The original furniture (including pews and communion table) has been removed to the present Innisfail Uniting Church and the original royal blue carpet and rubber matting (representing the corporate colour of the former Presbyterian Church) has been replaced. A manse is located at the rear of the site and is accessed from a driveway along the northern boundary of the property.
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The communion table is adorned by a cross, a pair of candlesticks, and a brass desk. In the chancel are oak stalls with carved poppy-heads, for the choristers; and in an apartment on the north side (which serves also for a robing-room) is an organ, built by Walker of London in 1849. Besides the east window, the chancel contains two other stained glass windows, on the south side, representing the Annunciation and the Adoration of the Magi. The window at the end of the north aisle is also a stained glass one.
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In 1606 it was decided to renovate St. Mary's. Two of the bells were re-cast, the pews were replaced, and "a fair new gallery" was built along the south aisle. In the 18th century two further galleries were added to the church; a north gallery reserved for the exclusive use of "maids and maidservants", and a west gallery for the use of St. Mary's band of musicians and choristers, later used to house the church's organ. The wooden communion table was sold for 3s and a new table added at a cost of 10s 6d (about £ as of ).
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The whole church appears to have been richly provided with stained glass of the medieval period. The chapel, which may be a little older than the aisle, is enclosed by wooden screens which are decorated with the leopard's head badge of Frowyk. There was formerly a late medieval rood screen. The chancel was out of repair in 1685, when it was ordered that the communion table be railed in. By the 18th century all the medieval glass, except the lower part of four panels in the north aisle, had gone and the chancel, nave, and aisle had flat plaster ceilings.
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This judgment, founded as was afterwards admitted on insufficient knowledge, produced no effect. In the absence of any authoritative negative pronouncement, churches returned to practically the whole ceremonial use of lights as practised in the Roman Catholic Church. The matter was again raised in the case of Read and others v. the Bishop of Lincoln, one of the counts of the indictment being that the bishop had, during the celebration of Holy Communion, allowed two candles to be alight on a shelf or retable behind the communion table when they were not necessary for giving light.
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In many Reformed and Evangelical Protestant denominations, the pulpit is at the centre of the front of the church, while in the Catholic, Lutheran, and Anglican traditions the pulpit is placed to one side and the altar or communion table is in the centre. In many Christian churches, there are two speakers' stands at the front of the church. Often, the one on the left (as viewed by the congregation) is called the pulpit. Since the Gospel lesson is often read from the pulpit, the pulpit side of the church is sometimes called the gospel side.
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Traditional Presbyterian Churches in Scotland and elsewhere often had a central pulpit, that is, the pulpit was located in the centre of the chancel in the position where most churches have the communion table or altar. The table could be situated in front of the pulpit or to the side, and sometimes was not in the chancel area at all. This declares the Bible to be the foundation of the faith. Furthermore, the "Centrality of the Word" implies that the reading and preaching of the Bible is the centrepiece of a service of worship, and thus takes priority over the sacraments.
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According to local tradition, the church became barracks during the American Revolution and was, like most other Anglican churches in Virginia, abandoned after either the Revolution or Episcopal Church's disestablishment circa 1794. American soldiers reportedly slaughtered animals in the courtyard and used the communion table as a chopping block, although its surface was later restored. By the War of 1812, the church had fallen into ruin and an "American patrol" used the baptismal font as a drinking bowl, so that it was carried away and found on a nearby farm. They also allegedly made unspecified repairs to the brick walls.
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The building also pays subtle homage to traditional sacred architectural forms with the inclusion of features such as blind arcading and a double-storey Ante-chapel in the northern wall. Symbolism can be read throughout Cox's architectural design; the Sanctuary wall, for example, has twelve small windows symbolic of the Twelve Apostles. The sanctuary is both raised and recessed, indicating the importance of the communion table, lectern and pulpit. Clear glass above the sanctuary recess, invisible from the nave, floods the wall above the reredos with natural light; this is symbolic of humankind's continual search for the "higher things".
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Designed in Georgian style, St. George's Church was originally cruciform in shape with a communion table oriented to the east, box pews, an elevated pulpit, and a semi-circular apse (common in Georgian Churches in Maryland, but not in Virginia). The entire building was topped with a hipped, gambrel roof, also a unique feature among Virginia's Georgian churches. Though only a fragment remains today, the church's brickwork was especially well-executed using flemish bond accented by glazed headers. The only known image of the structure's original design is a sketch made by Reverend James Wallace Eastburn in 1819.
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The blessed birth-day celebrated in some pious meditations on the angels anthem, 1636 A letter of his describing a violent storm which hit Fowey, damaging the church tower, also survives. Conventionally for the period Fitzgeoffrey interprets the storm providentially as a "warning piece from Heaven", but was somewhat troubled to find the only person injured in it was a maidservant who, he is at pains to point out, he has known "for this seven years... to be of sober, modest, religious conversation". Charles Fitzgeoffrey died on 24 February 1638 and was buried under the communion table of his church.
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Other interior fittings include an "impressive" clock manufactured in 1756 by Inkpen of Horsham, two coffin stools—on which a coffin would be placed before it was lowered into the grave—dating from 1787 and inscribed (James Knight, 1787), original pews including two carved with , a brass chandelier with a dove figure, and an original communion table of oak. A baptistery and vestries were added to the rear (west) elevation in the 19th century. Structural alterations were made at various times. The capacity was extended in the late 18th century when a wooden gallery was built; two named pews are dated 1788.
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After World War I, it was decided that the new chapel should be dedicated to the memory of those seven hundred and fifty-five men connected with the University who had lost their lives in the conflict. The Principal, Donald MacAlister, said: The Chapel was dedicated to their memory in a service on 4 October 1929, led by the Right Reverend John White. Tablets on the wall behind the Communion Table list the names of those who died, while other tablets besides the stalls record the 405 members of the University community who gave their lives in World War II.
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The coffered ceiling (an addition from 1882 replacing the original lath and plaster ceiling), the low-backed pews (from shortly after) and the predominantly classical memorials all contribute to the present interior retaining the character of a Georgian church. At the eastern end, the communion table is set into a small apse with its semi-dome adorned with gold mosaic tiles that were added in 1960. The altar is a commemorative gift from the Lloyd family, whose son was the first server appointed at St James'. It generally has an altar frontal in the colour of the liturgical season or festival.
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Francis Church was a BAPC choir member and a cellist, and he led the successful drive for purchase of the original pipe organ at the Huguenot Road location of the church. A candlelight Ash Wednesday communion service with a labyrinth leading to the communion table was used at BAPC in 2020. In 1919 BAPC received a grant from the Allan Blank and Margot Blank Foundation for support of the Second Sunday South of the James musical programs. "Second Sunday South of the James" and The Richmond Chamber Players are two popular concert series at the church.
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The foundation stone was laid by Frederick Elkington on 10 October 1867 and the Bishop of Worcester. The church was designed by J A Chatwin and the contractor was Wilson and Son of Soho, Birmingham. It was consecrated on 25 June 1868 by the Bishop of Worcester. Blews and Sons provided the gas fittings, communion table, brass lectern, reading desk and chancel chairs. A parish was created in 1869 from parts of the parishes of St Martin in the Bull Ring and St Bartholomew’s Church, Birmingham. It was enlarged in 1939 with a further part of the parish of St. Bartholomew’s.
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The seating capacity of the church was 200 with additional choir seating of 30 and the new hall was almost doubled in size. All materials used in the building were purchased locally or through local agents and all work carried out was by the local tradesmen. The church furnishings comprised 24 silky oak polished pews, maple communion table and chairs, polished lectern, marble baptismal font and a polished maple, plate glass sliding door hymn book press. Installed on the choir floor was a double manual Hammond electric organ with tone cabinet and book rests for the choir.
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On many of the white marble squares are memorials of the Andrewes family interred there. Near the communion-table is an inscription to Elizabeth, Lady Leigh, Baroness of Stonly, who died in 1678. On the north side of the chancel is a mural marble tablet with the representation of a lady in Elizabethan costume kneeling at an altar, behind her is a youth, also kneeling, and two babies in a cradle; above the heads of the children are the arms and crest of the family of Chandflower. Near the above, is a brass plate, with arms, and under them, an inscription.
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The pulpit and lectern are also usually found at the front of the choir, though both Catholic and Protestant churches have sometimes moved the pulpit to the nave for better audibility. The organ may be located here, or in a loft elsewhere in the church. Some cathedrals have a retro-choir behind the High Altar, opening eastward towards the chapels (chantries) in the eastern extremity. After the Reformation Protestant churches generally moved the altar (now often called the communion table) forward, typically to the front of the chancel, and often used lay choirs who were placed in a gallery at the west end.
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The white marble and limestone sanctuary of the National Presbyterian Church seats 1,450 and has a traditional cathedral floor plan in the shape of a cross. The design of its ceiling gives the appearance of an inverted ship's bow, more specifically Noah’s Ark, symbolizing its purpose as a place of refuge and safety. In accordance with Reformed Christian principles, the walls of the sanctuary were unadorned to focus attention on the preaching from the pulpit. The chancel area contains the liturgical center with the pulpit, communion table and the lectern which are the focus of the corporate worship.
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The two windows in the south wall and the window in the north wall date from the 19th century, and are set in rectangular frames; the windows are topped with trefoils. The pews and the elevated pulpit date from the 19th century. The church has some marble memorials on the walls, dating from the 18th century, and a 15th-century octagonal font. A 1937 survey by the Royal Commission on Ancient and Historical Monuments in Wales and Monmouthshire noted a bier from 1746, an oak communion table from about 1700, and an inscribed Elizabethan silver cup.
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It was sent to London in 1734, possibly to be engraved, and on its return some new ironwork was put to the "aegle", and four men employed to fix it. In 1733 Sir Darcey Levir, of Accrington, Lancashire, gave £50 towards a marble altar piece, of which there is no further record at the time, but which is believed to be the most recent and which was restored in the late Victorian period. In 1748-9 some very elaborate furniture of crimson velvet, crimson damask curtains and a Wilton carpet, were provided for the communion table, costing £140 13s. 4d.
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On 18 July 1749 he was presented by the crown to the rectory of St George the Martyr, Southwark, which he held with the lectureships of St Magnus and of St Margaret, Fish Street. He subsequently was appointed chaplain to Augusta of Saxe-Gotha, the Princess Dowager of Wales. He died on 21 December 1767, aged 68, and was buried underneath the communion-table in St. George's Church. Howard was a popular preacher, but money troubles frequently led to his imprisonment in the King's Bench Prison, where he was dubbed "poet laureate", and he sometimes obtained money as subscriptions to books which he pretended to be writing.
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Communion tokens, small emblems made usually from lead and stamped with the date, and sometimes the initials of the minister, were required for admission to communion. These were given only to those approved by the minister, and had to be surrendered to an elder by every person approaching the communion table. A second symbol of exclusivity was the fencing of the tables. Set apart from the rest of the congregation, these tables were often covered with the best and finest linens available and sometimes “fenced” with a rail as the minister described the qualifications of communicants as a further barrier against those who had not been formally invited and approved.
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J. Murray (1877), pp. 127–134 Edward Seymour, 1st Duke of Somerset (1552); John Dudley, 1st Duke of Northumberland and John Gates in connection with the 1553 succession crisis (1553); and James Scott, 1st Duke of Monmouth, under the communion table (1685)."James Scott, Duke of Monmouth" , Family Search, accessed 12 June 2014 A list of "remarkable persons" buried in the chapel between 1534 and 1747 is listed on a table on the west wall. Thomas Babington Macaulay memorialised those buried in the chapel in his 1848 History of England: > In truth there is no sadder spot on the earth than that little cemetery.
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The north aisle houses a collection of sixteenth- and seventeenth-century tombstones, including that of Alexander Leslie of Kininvie, dated to around 1549, and Alexander Duff of Keithmore, and his wife Helen Grant, dated 1694. There is also a large stone finial with a sundial in one face, which is presumed to have been mounted on one of the gables at some point in the building's history. At the east end of the nave is a raised chancel, which features a marble font, and wooden pulpit and communion table dating from the 1930s. There are wooden pews throughout the nave and the north aisle, also from the 1930s.
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In 1959 during Dr. Theodore G. Lilley's pastorate, the church merged with First United Presbyterian Church. With this church, which stood on the north-east corner of Summer St. and Richmond Ave. additional gifts for expansion became available; this was realized in 1968, during the pastorate of Dr. Arthur W. Mielke, D.D. The sanctuary underwent additional modifications, this time, the chancel was extended, the communion table enlarged by the same craftsmen that carved the original table, the pulpit and lectern were also redesigned, and the dividing wall in the chancel was removed to reduce congestion. The ornate, carved chancel and pulpit railings were reused around the pulpit and lectern.
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View of the church's altar from the sanctuary Designed by Henry Langley, who was to draw "the ubiquitous cloak of decorous gothicism over the face of Ontario in the 1870s",Marion MacRae and Anthony Adamson, Hallowed Walls: Church Architecture of Upper Canada (Toronto: Clarke, Irwin, 1975), p.90. the church became known as The church's ecclesiastical neighbours are St. Michael's Cathedral Basilica and the Cathedral Church of St. James, and the trio of similarly designed churches are a striking Christian witness adjacent to Canada's financial hub. The church's website describes the building in customary evangelical Protestant terms, regarding the nave rather than the altar ("communion table") area as its "sanctuary".
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This involved installation of an electronic carillon ("the chimes") in 1950; commissioning of stained glass lights – designed by William Bustard in 1957 and executed by Oliver Cowley between 1958 and 1972 – for the aisle windows; the addition of an electro-pneumatic action to the organ in 1963; and the inclusion of a columbarium in 1967. Renovation of the cedar pulpit, rostrum and communion table was undertaken in 1976. In the early 1980s the Friends of St Paul's was established, which conducted an appeal to raise funds for restoration work. Funds from the appeal and various grants permitted repairs to some of the ornamental stonework.
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One of the bells, removed for maintenance Following a partial collapse of the tower in 1716, the medieval church was rebuilt in Palladian style by George Dance the Elder during 1736–40, with a soaring steeple 192 feet tall—an imitation of Christopher Wren's magnificent steeple on St Mary-le-Bow in Cheapside—and a giant four-columned, pedimented Tuscan portico. Inside the church, the entablature is supported by giant Doric columns. Dance was also architect of the Mansion House. Many original 18th-century fixtures and fittings remain, including the font, the pulpit, the communion table, clock, organ case, bread cupboards and commandment boards.
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Communion-table, sanctuary and seats for celebrants are located in the northern part of the church. Room above sacristy holds seats, reserved in the past for patrons, nobles. There is wooden Classicist altar from year 1800Archives of The Monuments Board of the Slovak Republic, Research Report from 18 June 1954 with modern Statue of the Sacred Heart located in the right part of triumphal arch and preserved original Classicist pulpit with conic tribune and canopy on the left. The Statue of Immaculate Heart of Mary on the left and Statue of the Sacred Heart on the right decorate the facade of the yellow-white building.
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Some Progressive Christian congregations offer communion to any individual who wishes to commemorate the life and teachings of Christ, regardless of religious affiliation.In most United Church of Christ local churches, the Communion Table is "open to all Christians who wish to know the presence of Christ and to share in the community of God's people". (Book of Worship). Holy Communion: A Practice of Faith in the United Church of Christ In the Episcopal Church (United States), those who do not receive Holy Communion may enter the communion line with their arms crossed over their chest, in order to receive a blessing from the priest, instead of receiving Holy Communion.
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New windows were inserted in the nave, the old stone pulpit was replaced by an oak one and a new oak communion table, lectern and chancel furniture were installed. The contractor was Thomas Thomas of Colwinston and the cost of £800 was defrayed by Mrs Mary Collins Prichard who had recently come to live at Pwllywrach and, as patron of the "living", wished to put the church in a good state of repair. In 1881, when additional accommodation was required for the then 64 parishioners, the architect John Prichard reseated the church with open benches at a cost of £120. Many of the church's furnishings date from this time.
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At the west end of the nave is the sanctuary, behind which a "very tall and grand" but "simply decorated" pipe organ, with wood panelling and painted pipes, is installed against the west wall. A staircase on the south side of the sanctuary leads to a raised pulpit mounted against the bottom of the organ. Near the pulpit is a small enclosure with wooden railings, possibly for the church elders or a choir. In front of this, mounted at the top of the steps leading up to the sanctuary, is the communion table, which is skirted with alternating open and closed panels with detailed carved tracery.
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The 2nd Viscount Leverhulme's parents married at the United Reformed Church of St Andrew and St George in Bolton, on 17 April 1874. In 1936, William, 2nd Lord Leverhulme, paid for many improvements to the church, including widening the chancel and providing choir stalls, a communion table and a pulpit. He arranged for a new marble floor and the communion dais was finished with polished Hopton Wood stone. The chancel walls and the organ gallery were lined with carved Austrian oak panelling. He paid for two stained glass windows, one illustrating the ‘Parable of the Talents’ in memory of his father, and another, ‘The Resurrection Morning’, in memory his mother.
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Fellowes is known for portraits of eminent clergymen of his time. There are portraits by him of Thomas Wilson, bishop of Sodor and Man (engraved by Vertue in 1726), Laurence Howell, the nonjuror, and Humphrey Gower, master of St John's College, Cambridge (engraved by Vertue in 1719). Fellowes obtained notoriety as the painter of the famous picture of the ‘Last Supper’ which was placed over the communion-table in the Church of St Mary, Whitechapel, by the Jacobite rector, Dr Richard Welton. In this Dr White Kennett, dean of Peterborough, was portrayed as Judas Iscariot, no pains being lost to make the portrait unmistakable.
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The Trustees gifted these objects, and a carved communion table with chairs from the demolished Pike's Hill Methodist chapel in Falmouth, to The Cornish Heritage Collection at Poldark Mine, 11 miles from Flushing, and they were moved there in 2016. The pipe organ is in working order and may be played by visitors. ;Schools The village Church of England school is in Coventry Road and caters for a maximum of eighty pupils. It serves as a feeder school for the local secondary school, Penryn College, although some pupils have gone on to Penair School in Truro or the fee-paying Truro School and Truro High School for Girls.
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The University Chapel was constructed as a memorial to the 755 sons of the university who had lost their lives in the First World War. Designed by Sir John Burnet, it was completed in 1929 and dedicated on 4 October. Tablets on the wall behind the Communion Table list the names of those who died, while other tablets besides the stalls record the 405 members of the university community who gave their lives in the Second World War. Most of the windows are the work of Douglas Strachan, although some have been added over the years, including those on the South Wall, created by Alan Younger.
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A survey by the Royal Commission on Ancient and Historical Monuments in Wales and Monmouthshire in 1937 noted an 18th-century communion table, an engraved Elizabethan silver cup and a silver paten dated 1721, and a memorial inside the church dated 1791. A 19th-century writer noted a seat near the altar with "R.B. 1630" upon it, said to mark it as belonging to the Bulkeley family (who were prominent and influential landowners, in Anglesey and elsewhere in north Wales, from the 15th to the 19th centuries). The churchyard contains a number of slate tombs and a sundial made from brass, dating from the 18th century, standing in the base of a medieval stone cross.
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The Governor was afterwards entertained by Colonel Tredwell, commander of the regiment. In the evening, he was entertained by Colonel Cornwell, of Rockaway, in the same manner. :"The next day the Governor returned to Hempstead, pleased with the reception he everywhere met with from all ranks, with the extraordinary concourse of people from all parts on the occasion, and with the handsome appearance of the militia, both horse and foot." --- New York Gazette A generous collection was made for the church on this occasion: The Governor gave the King's arms, painted and gilded; Secretary George Clarke gave a crimson damask set of furniture for the communion table, pulpit and desk; John Marsh gave a silver basin for baptism.
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The pulpit and font were carved from Beer stone, with the font being the gift of Mr. Spiller. Today the church has a font of 1912 by Bridgeman and Son of Lichfield. The church was designed to accommodate 600 persons on chairs, but these were replaced in favour of open benches of pitch pine, which in turn reduced the accommodation capacity down to 500. A number of gifts were received by the church when built in 1880-81, including the east window from Mr. John Marshall, the communion table from Mr. A Steevens, the lectern from Mr. G. Steevens, and two Glastonbury chairs, one each from Mr. G. W. Mitchell and Mr. E. Jeboult.
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In terms of liturgy, most Anglicans use candles on the altar or communion table and many churches use incense and bells at the Eucharist, which is amongst the most pronounced Anglo-Catholics referred to by the Latin- derived word "Mass" used in the first prayer book and in the American Prayer Book of 1979. In numerous churches the Eucharist is celebrated facing the altar (often with a tabernacle) by a priest assisted by a deacon and subdeacon. Anglicans believe in the Real presence of Christ in the Eucharist, though Anglo-Catholics interpret this to mean a corporeal presence, rather than a pneumatic presence. Different Eucharistic rites or orders contain different, if not necessarily contradictory, understandings of salvation.
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' There was to be prayer that the inward baptism of the Spirit would be joined with the outward baptism of water. The Communion was to be celebrated often, though how often is not made clear - to the Scots quarterly or half-yearly was sufficient, but some English Puritan churches observed monthly, while most Anglicans only communicated once a year - and was to take place after the morning sermon. Those wishing to receive communion were to sit about or at the communion table. The italicised words were a compromise between the Scottish view of the necessity of sitting around a table and a common view in England that partaking in the pews was in order.
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Although the first recorded rector was Matrin de Sutton, installed in 1411, the church is at least Norman in origin, with possibly a previous Saxon past. The diagonally buttressed four stage tower is broadly unaltered from the Norman period. A number of alterations have occurred over the years, such as in the early 17th century, when it gained a Jacobean screen and communion table, as well as a memorial to the poet Samuel Daniel, who died in the parish in 1619. Further notable alterations occurred in the 18th century, when the nave was reroofed (1754) and two new bells placed in the tower (1756), which were cast by Thomas Bilbie of the Bilbie family.
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But as this was not the case in Sydney it was decided to abandon the old table rather than maintaining it at the risk of it being associated with the "High Altar" of Roman Catholic and many Anglican churches (the communion table in an Anglican church in Sydney must be of wood and be able to be moved). In addition, a major consideration in not retaining the old table was that it was riddled with termite damage, a perpetual problem in the centre of Sydney. Since the departure of Phillip Jensen, the old choir stalls have been reinstalled in their former position, and the more modern temporary ones are not in use. The eagle lecterns have been reinstated.
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The Year Book of Daily Recreation and Information, Hone, W., cols. 245–246: London, 1838 The church of St Margaret New Fish Street was not rebuilt after the fire and its parish was united to that of St Magnus. St Magnus the Martyr tower and clock The chancels of many of Wren’s city churches had chequered marble floors and the chancel of St Magnus is an example,Historic Floors: Their Care and Conservation, Fawcett, J. (ed.): Oxford, 1998 (paperback edition 2001) the parish agreeing after some debate to place the communion table on a marble ascent with stepsAltars Restored: The Changing Face of English Religious Worship 1547-c.1700, Fincham, K. and Tyacke, N., pp.
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The money funded parish projects that could not be challenged by royal authorities.. Among many examples: in Haddenham, Cambridgeshire, a chalice, paten and processional cross were sold and the proceeds devoted to flood defences; in the wealthy Rayleigh parish, £10 worth of plate was sold to pay for the cost of the required reforms—the need to buy a parish chest, Bible and communion table. In many parishes, items were concealed or given to local gentry who had, in fact, lent them to the church.: At Long Melford, Sir John Clopton, a patron of the church, bought up many of the images, probably to preserve them. The confiscations caused tensions between Protestant church leaders and Warwick, now Duke of Northumberland.
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The stained glass in the north aisle dated 1876 was made by Morris & Co. and depicts the scene of the fiery furnace in the book of Daniel. The glass in the east window is by Burlison and Grylls, dated 1891, and that in the west window and in the east window in the transept are by Shrigley and Hunt. In the chancel are memorials to John and Edward Atherton who died respectively in 1826 and 1820 showing a sarcophagus in relief which is by T. Franceys and Spence of Liverpool. On the south wall is a pink marble tablet to the memory of the scientist Ferdinand Hurter who died in 1898. In the Bold chapel the communion table dates from the early 17th century.
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For this reason, there was no visual emphasis on the communion table, which was a small portable one, and no reredos. St James' suffered from a major scandal in the late 1820s ("a period of personal quarrels and violent newspaper controversies") when Commissioner Bigge's secretary and brother-in-law, Thomas Hobbes Scott, who had been made Archdeacon of New South Wales in 1825, came into conflict with a parishioner, Edward Smith Hall. Archdeacon Scott ordered that Hall should vacate the pew he rented at St James' for himself and his six daughters. As Hall continued to occupy the pew, constables attended Sunday services to prevent his occupation of the pew by boarding it up and making it secure with iron bands.
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Now the low communion rail is generally the only barrier; despite being essentially a Counter-Reformation invention, this has proved useful and accepted in the Protestant churches that dispense communion. However the screen enjoyed a small revival in the 19th century, after the passionate urgings of Augustus Pugin, who wrote A Treatise on Chancel Screens and Rood Lofts,Online text and others. After the Reformation Protestant churches generally moved the altar (now often called the communion table) forward, typically to the front of the chancel, and often used lay choirs who were placed in a gallery at the west end. The rear of deep chancels became little used in churches surviving from the Middle Ages, and new churches very often omitted one.
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This Presbyterian church in Duirinish, Skye has a small Communion table in front of a prominent pulpit, illustrating the church's dual ministry of Word and Sacrament. The table may be very simple, adorned perhaps with only a linen cloth, or with an open Bible or some receptacle to collect an offering. In modern use many Protestants adorn their tables with candles, though the use of candles was historically rejected among some Protestants. Some Communion tables bear the inscription Do This in Remembrance of Me from the Last Supper (, ), indicating the belief in Holy Communion being a memorial rather than a sacrifice, or the words Holy, Holy, Holy as a recollection of the union between the whole of creation in worship.
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St Mary's Church in Beddington where Leake donated a new altarpiece, communion-table, rails and pavement for the chancel in 1710 Leake served under Sir Cloudesley Shovell and the Earl of Peterborough at the Siege of Barcelona and was present at the capitulation of the city by French and Spanish forces in October 1705. A further siege took place between in April 1706 when a Franco-Spanish army led by Philip V of Spain laid siege to Barcelona in an attempt to recapture it. The Franco-Spanish army abandoned the siege when Leake arrived in May 1706. On the way back, he supported operations to capture Cartagena in May 1706, Alicante in July 1706, Ibiza in September 1706 and Majorca later that month.
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In Parliament he supported the prosecution of Henry Sacheverell in Spring 1710. Later that year he donated a new altarpiece, communion-table, rails and pavement for the chancel at St Mary's Church in Beddington where he owned a country house. Leake became First Lord of the Admiralty in the Harley Ministry in November 1710, but declined to take a political position in that role, and was re-appointed Commander-in-Chief of the Navy for expeditions in January 1711 (for trade protection in the Channel) and in April 1712 (for an attack on Dunkirk). He stood down as First Lord of the Admiralty in September 1712 and reverted to his former role as First Naval Lord on the Admiralty Board.
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The new fellowship hall was named in honor of the Harris family, the three siblings who founded the church and donated the original land. The new prayer chapel was named in honor of Westerly and became home to the previous building's communion table and cross. On the occasion of the dedication of Stone Hill Church, Congressman Rush Holt wrote > I regret that I cannot join you in person for today's celebration, but I > want to congratulate the leaders and congregants on this moments occasion in > the history of Westerly Road - and now, Stone Hill - Church. In the book of > Acts, Peter proclaims to the Gentiles how God anointed Jesus of Nazareth > with the Holy Spirit and with power and how he went about doing good and > healing the oppressed.
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The roofs, which had not been replaced since 1913, were rebuilt with plywood diaphragms, 30,000 new red clay tiles were installed, and the stones from the decorative arches were reinserted. The wing of the damaged angel was restored; Stanford University hired William Kreysler and Associates to create a new backing system to secure this angel and three other mosaic angels to the base of the dome, which included replacing the original bonding materials (a weak lime mortar), with steel angles that anchored the mosaics to the walls and with a stronger polymer resin. The renovators found a piece of the original mosaic from the vestibule wall, which had a Chi Rho design, in the foundation, and inserted it into the Communion Table in the chancel, linking the current building with the pre-1906 church.Gregg, pp.
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Local folklore has it that the rooster weather vane atop the steeple has sixteen bullet marks placed there by Hessian mercenaries who used it for target practice. American troops occupied the church for a period under Ezekiel Cornell from Rhode Island. Cornell "converted the Episcopal Church into a store house, forbid the parson to pray for the King or any of the Royal Family and made use of the communion table as a convenience for his Yankees to eat upon.""Genealogy of the Cornell family : being an account of the descendants of Thomas Cornell" citing Judge Thomas Jones, who was a member of the parish, as recorded in his "History of New York during the Revolutionary War" Both the church and its rectory are listed on the National Register of Historic Places.
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The southeast facade of the building preserves the location of the original second entrance which was patched with bricks that are lighter in color to the original ones. When originally constructed, the roof featured clipped gables on the northeast and southwest facades, but these were later removed and the ends filled in with brick to make a gable roof over the entire structure. When St. John's was restored to use in the 1820s, the configuration of the old church still met the preferences of most pre-Oxford Movement Episcopal Churches in the region which emphasized the spoken word over the sacrament in the service. The original windows on the northeast altar end of St. John's originally framed the position for the communion table, but these windows were later filled in.
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He was consecrated bishop of Peterborough at Lambeth by Archbishop Laud, assisted by William Juxon, on 18 May 1634, and was enthroned by proxy on 28 May. In his diocese, as elsewhere, the order for placing the communion table altarwise at the east end of the chancel, and fencing it in with rails, produced discontent among the clergy, and Dee received frequent instructions from the high court of commission to proceed against those who refused obedience. Dee died at Peterborough on 8 October 1638 and was buried in his cathedral. By his will, dated 28 May 1638, he gave to the repair of his cathedral, and to St. John's College the impropriate rectory of Pagham for the foundation of two scholars and two fellows to be chosen from Peterborough grammar school.
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On the wall of the sanctuary is a crucifix, It is framed by a pediment and four pilasters – two pilasters on a pedestal on either side of it. This reredos is not original, and was installed some time in the 1960s, and is typical of the period, using standard glass mosaic tiles to create a 'starburst' background to the crucifix, as a replacement for the original high altar arrangement that was removed following the Second Vatican Council. At one point, the cathedra was moved to this spot where the high altar once stood, with the altar being moved forward as a free- standing 'communion table' style altar to allow versus populum celebration of the Mass. Following the most recent restoration, the traditional placement of the cathedra, to one side of the altar, has been reinstated.
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The present site in uptown on South Claiborne Ave (only two years after being reclaimed from swamp land) was purchased. Part of the agreement was that furnishings and materials could be salvaged before the church was torn down. These were incorporated into the new church, including the organ, bell, pews, the stained glass windows except the one in the chancel, Benjamin Palmer’s marble topped communion table and his matching lectern are still in use, the four chairs and the settee in the chancel, millwork on the rear choir loft, and several marble plaques, one a memorial to the first preacher and another listing all of the pastors and their years of service. The church and the Palmer Hall education building to its left were dedicated Easter Sunday, April 9, 1939.
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This barn, dubbed by Cox as "the cathedral of barns" for its tracery of exposed structural timbers, of king post trusses supported by adzed poles and brackets shaped from tree roots, and closely spaced battens supporting the shingled roofing. As with the "Emerald Hills", McKay and Cox designed much more than just the buildings, including furniture such as the Dining Room's refectory tables and chairs, the lectern, the communion table and chairs of the Chapel, the lighting fittings, fixtures, the commemorative plaques, and signage. The practice expanded in reputation and with employees, including Bob Hooper, Alan Ray and Roy Thistleton, and later Andrzej Ceprinski and Andrew Metcalfe. Both Cox and McKay acknowledge the work of Ceprinski whose enthusiasm, determination and his immense skill at drawing was as invaluable asset.
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The font, which is medieval in date, is a plain octagonal bowl set on an octagonal column. Memorials include a "chunky Grecian memorial" to an officer of the Bengal Native Infantry who died in 1835, a tablet in neoclassical style from 1839, and a slate tablet to an army officer who died in 1914. A survey by the Royal Commission on Ancient and Historical Monuments in Wales and Monmouthshire in 1937 also noted an oak communion table and two oak chairs of simple design, both from the early 18th century, and various memorials inside and outside the church from the 17th and 18th centuries. A survey of church plate within the Bangor diocese in 1906 recorded three silver items: a plain chalice dated 1887–88, a paten dated 1803–04, and a flagon inscribed "Bodedern 1809".
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He called for his guards, but the conspirators had barred the doors and within a few moments a sword stroke had severed his arm, and he fell before the communion-table, where his body was hewed in pieces. His remains were dumped unceremoniously in the snow and the assassins hurried to the dungeons to free Michael II. Unfortunately for them Leo had hidden the key on his person, and since it was too early in the morning to find a blacksmith Michael was hastily crowned as emperor with the iron clasps still around his legs. Leo's family (including his mother and his wife, Theodosia) was exiled to monasteries in the Princes' Islands. His four sons (including ex co-emperor Symbatios) were castrated, a procedure so brutally carried out that one of them died during the "operation".
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The adopting acts, therefore, attempted to keep intact those traditions and practices of the Scottish church where they differed from those of some English churches, whether Puritan or Independent, so long as these differences proved no offense to those English churches.Sprott, George Washington, The worship and offices of the church of Scotland (Edinburgh: William Blackwood and Sons, 1882). Such differences in implementation included, for instance, the Scots coming forward to sit around the communion table, retaining the use of the epiclesis, the singing of a Psalm while tables dismissed and came forward, the distribution of bread and wine by communicants among themselves, and "a sermon of Thanksgiving" after communion. The Westminster Directory did, however, have the effect of suppressing the Scottish "Reader's Service" and of eliminating the practice of ministers bowing in the pulpit to pray prior to the sermon.
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Attention to detail extended to every aspect of the interior finishes and the construction: each concrete roof tile of the spire was double wired and further fastened to the timber battens with two brass screws. The raw medieval character of the chapel's interior is reinforced by the furniture and furnishings specifically designed for the space, including the face brick lectern and communion table, and the Blackwood (Acacia melanoxlyon) framed chairs with woven leather webbing designed by Cox and McKay, the organ, and the tapestry hung behind the altar that depicts a passage from the Old Testament Isaiah. Created by Margaret Grafton, and woven of hand spun wool dyed with natural dyes, its warm colours and soft texture contrast with the raw Spartan interior. The marble commemorative tablet, designed by the architects, rests directly beneath the king post.
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They are used for practices of piety intended for one person (often referred to as a private devotion).They are also found in a minority of Protestant worship place; in Reformed and Anabaptist churches, a table, often called a "Communion table", serves an analogous function. A home altar in a Methodist Christian household, with a cross and candles surrounded by other religious items The area around the altar is seen as endowed with greater holiness, and is usually physically distinguished from the rest of the church, whether by a permanent structure such as an iconostasis, a rood screen, altar rails, a curtain that can be closed at more solemn moments of the liturgy (as in the Armenian Apostolic Church and Armenian Catholic Church), or simply by the general architectural layout. The altar is often on a higher elevation than the rest of the church.
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Persons, men, weomen and Chorasters, came to the Towne, many of the Inhabitants, but chiefly the Clergie going to meet him. The intent of his & their coming, was to performe the solemnity of Dedicating the Communion Table to be an Altar, and of consecrating certeyne Altar Cloathes (as they said) to the glory of God. The Table was made new for this purpose, being about a yard & an halfe in lenght, exquisitely wrought and inlaid, a fayre wall of waynscot being at the backe of it, & the rayle before it, was made to open in the middle, & not at one side; the middle, where the Ministers tread, being matted with a very fayre Matt. Vpon the Table was placed a faire Communion Booke, couered with cloth of gold, & bossed with great silver Bosses, together with a faire Cushion of Damaske, with a Carpet of the same; both party coulored of skie coulor & purple, the fringe of the Carpet being blew & white.Prynne. A Quenche-Coale, p. 196.
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Grosvenor Chapel viewed from Aldford St, circa 1949 The simple classical form of the building, a plain rectangular box with two tiers of arched windows in the side walls, at the east a shallow projection for the communion table and at the west a portico over the pavement and a short spire containing a clock and bell to call the faithful to worship, is derived from recently completed churches such as James Gibbs’ St Martin in the Fields or John James’ St George's, Hanover Square. With the aid of these examples and the illustrations in numerous pattern books available at the time, a competent builder like Timbrell, who had worked with Gibbs at St. Martin's, could himself have easily produced the design for the chapel without needing to commission an architect. The Anglo-Catholic liturgical style of the chapel was expressed in the building by the introduction of fittings and adornments by Sir John Ninian Comper in 1912-13.
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Among his noteworthy works created in Faulensee and Berne are the following: The capitals of the castle of Wimmis (1950), the communion table in the church Lerchenfeld/Thun (1951), a fountain sculpture at the schoolhouse Krattigen (1953), the restoration of the Tschan house on the Schüpf in Faulensee (1952), of the Romanesque church Einigen/SpiezE.F. Baumann, Wenn ein Baufachmann zu philosophieren beginnt, Zentralblatt der Schweizerischen Akademischen Turnerschaft, Nr. 1, 1957. (1954/55), of the historic inn St. Urs in Biberist (SO) (1958–62), of the farmhouse „Les Aroles“ as annex of the Palace Hotel (now owned by Spiros Latsis) in Gstaad (1954), and of the church Radelfingen/Aarberg (1958–65), the excavation of the St. Columban chapel in Faulensee (1960/61) and the construction management for the expansion of the sugar factory Aarberg (1958–60), for the new construction of the British embassy in Bern (1962) and for the administrative building of the Bernese power company (1960–63).
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There are, however, some passages in the African writers which show that there was a great similarity between the African actio and the Roman Eucharistic Canon, so much so that some of the texts when put in juxtaposition are almost identical. The actio contained the usual prayers, the commemoration for the living and the dead, the words of institution and sanctification of the sacrifice, the commemoration of Christ's life, the Pater Noster, and the preparation for Communion. The Pater Noster seems to have held the same position that it now has in the Roman canon, and it was said before the Communion, as St. Augustine states, because in the Lord's Prayer we beseech God to forgive our offences, and thus we may approach the communion table with better dispositions. The kiss of peace followed shortly after the Pater Noster, and was closely connected with the Communion, being regarded as a symbol of the fraternal union existing between all those who partook of the Body and Blood of Christ, being united through Him.
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He encouraged the Doctrine of Grace, which rejected predestination and moved towards a more universal truth and divine forgiveness. However, in his early career he still held onto Calvinism. It was the last of these Calvinist political Bishops John Williams of Lincoln, a former Lord Keeper, who appointed Piers to the deanery of Peterborough 9 June 1622. He was elevated in 1630 to the bishopric of Peterborough, being consecrated on 24 October. He obtained letters of dispensation to hold the rectory of Northolt and the canonry of Christ Church together with his bishopric in commendam; Northolt he soon resigned, taking the chapter living of Caistor, 27 February 1632. In October 1632 he was translated from Peterborough to Bath and Wells, with William Laud's backing. He enforced the orthodox ceremonies, and in 1633 issued orders for the positioning and railing of the communion table, being obeyed in 140 churches of the diocese, but resisted by the majority. The churchwardens of Beckington refused to carry out the change, and were excommunicated for their contumacy.
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Those who use the phrase "ad orientem" refrain from using the correspondingly ambiguous "ad occidentem" phrase and speak of that arrangement instead as "versus populum". With the English Reformation, the Church of England directed that the sacrament of the Holy Eucharist be celebrated at a communion table placed lengthwise in the chancel or in the body of the church, with the priest standing on the north side of the holy table, facing south. Turning to the east continued to be observed at certain points of the Anglican liturgy, including the saying of the Gloria Patri, Gloria in excelsis Deo and ecumenical creeds in that direction. Archbishop Laud, under direction from Charles I of England, encouraged a return to the use of the altar at the east end, but in obedience to the rubric in the Book of Common Prayer the priest stood at the north end of the altar. In the middle of the 19th century, the Oxford Movement gave rise to a return to the eastward-facing position, and use of the versus populum position appeared in the second half of the 20th century.
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There are two magnificently-carved reredoses by Deacon, one in the Lady Chapel (1913) and one in the sanctuary (1909). The Lady Chapel reredos features a Madonna and Child with the inscription "Magnificat anima mea Dominum, et exsultavit spiritus meus in Deum" from the Magnificat The Lady Chapel Altar has three carved panels featuring a pelican feeding her chicks with her own blood, a Lamb holding a Shepherd's staff with the inscription "Ecce Agnus Dei" and another carved panel depicting an Eagle in flight. Around the base of the Altar is carved the Inscription "I believe in the Communion of Saints" a quotation from the Nicene Creed. Permission was given by a Faculty dated 16 June 1913 to remove the tapestry hangings behind the communion table in the Lady chapel and erect in lieu a reredos of oak with the cost to be defrayed by Helen Catherine Tidswell of Northgate House, the reredos being intended to complete the memorial to her late husband Richard Thomas Tidswell.Faculty dated 16 June 1913 The Faculty also provided for a canopy of carved oak for the font as a memorial of the late mother of Jane Wright of 22 Chichester Street.
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