124 Sentences With "reading desk" | Random Sentence Generator

Each cell has a TV set, a sink, a small cupboard and a reading desk that doubles as a dinner table, officials said.

When I need a quiet place to read, write or contemplate away from the chaos of my studio, I use the reading desk outside of my studio.

A delightful contraption tucked into a corner on the second floor is the unlikely combination of a reading desk and massage chair, elegantly enhanced with brass plating and mustard-yellow upholstery.

" He thought of a short poem by Shu Xiangcheng that he read when he was young: "I have never seen/a knelt reading desk/though I've seen/men of knowledge on their knees.

The noun "lectern" refers to the reading desk used by lecturers.

Inside the chapel is a wooden panelled reading desk on a moulded plinth with an ogee cornice. On each side of the reading desk is a flight of three steps with balusters and newels. The reredos is also panelled, the central panel being wider than the outer panels, and with a semicircular head. The reredos is decorated with motifs including garlands and roses.

The seven bay building is of red sandstone with a thatched roof. The interior furniture including the reading desk and pews were brought in from other local churches.

Reportedly there was a rood tympanum but this had been removed before 1846. In the 18th century the wooden pulpit, tester and reading desk were added, along with the wooden panelling and west gallery. Some timbers from the chancel screen tympanum seem to have been re-used in the 18th-century reading desk and pew floors. There is also one box pew at the front of the nave, presumably for the manorial family.

The interior was renovated. The aisles were floored with red and white Mansfield stone laid in a diamond pattern. The chancel was laid with Minton encaustic tiles. A new pulpit and reading desk were installed.

The Augustinian canonesses today still preserve several items of note from the ancient abbey. Most significant of these is the relic of the True Cross. Additionally there is the ivory Reading desk of St. Radegund.

The nave contains a gallery at the west end. The pulpit and reading desk are of carved oak, and the octagonal font is of Bath stone. The reredos was added in 1891, designed and carved by the vicar, Rev. Henry Stuart King.

Then the walls and the screens of the Frowyk chapel were all whitewashed. There was a gallery for children at the west end, extending some way along both sides of the nave, and there were box pews, a lofty pulpit, and a reading desk.

The pulpit and reading desk are 17th-century. The west tower has three bells. The second bell was cast by an unknown founder at the end of the 14th century. Brasyers of Norwich cast the tenor bell at the end of the 15th century.

Stephens donated to the church a fine pulpit, reading desk and sanctuary chair, in memory of her late husband.Palmer (1930) Trevalga is mentioned in the song Black and Gold along with other places nearby. Trevalga lies within the Cornwall Area of Outstanding Natural Beauty (AONB).

The chancel is floored with tiles from the 14th and 15th centuries. The font dates from the 12th century and has a fluted bowl and stem. The 17th-century pulpit is hexagonal and has a sounding board. The triangular reading desk is dated 1685.

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.

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.

Unusually, the stained glass windows include a depiction of a lone Judas Iscariot with a dark halo. Inside the church is a brass reading desk originally made in East Anglia. The parish is part of a benefice with St Andrew with the Diocese of Bath and Wells.

Also installed in 1854 were new flooring, pulpit, reading desk and open benches. The total cost was £1200.History, Gazetteer and Directory of the Counties of Leicestershire and Rutland, William White. Published 1863 In 2014 the Church undertook a £193,000 repair of the bell-tower and spire.tiltonchurch.co.

The Lewknor tomb has ogee mouldings and a series of carvings depicting the Pietà, the Resurrection of Jesus and the Trinity. The pulpit, made in the 18th century, dominates the interior with its size and positioning. The lower deck, an uncommon feature, serves as a separate priest's reading desk.

The church is mentioned to in the Norwich Tax Records in 1254. Notable features include a window dating from 1626, a reading desk from 1730 and a reredos from 1846, the church was restored extensively in 1878. There was a school in the parish until the beginning of the 20th century.

The reading desk and lectern are of oak. A marble tablet is located over the south door in memory of Rev. Joseph Heathcote Wyndham, a former rector of Corton Denham. A new organ was installed at the east end of the north aisle in 1870 for a cost of £110.

In the chancel is a moulded cornice, and its east bay is decorated with Ionic pilasters. Also in the chancel is panelling that was made for Cannons, the home of the Dukes of Chandos. Also from Cannons are the communion rails, the pulpit and the reading desk. The marble font dates from 1884.

The font has a square base and a 17th-century eggcup-shaped bowl. Its cover dates from about the 18th century, and is domed with a ball finial. The lectern and reading desk date from the 19th century, and the oak benches from about 1900. The monuments date from between 1765 and 1855.

At the front is an Ionic tetrastyle portico with a pediment. On each side of the portico are three-bay wings, with paired pilasters along the front, and twin Ionic columns in the antae at the sides. Inside the chapel are modern pews, a pulpit and a reading desk. Along the east wall are pilasters.

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.

The windows are Georgian in style, with sashes and small panes of glass. Inside the chapel are box pews, an octagonal pulpit and a carved reading desk. The chancel is panelled and divided from the nave by rails consisting of turned balusters. Hanging from a lintel at the entrance to the chancel are similar balusters forming an arch.

Bishop Piers Calverley Claughton arrived on HMS Buffalo in 1861 to consecrate the church and conduct a confirmation service. The old pulpit and reading desk was removed in 1870, during the time of Rev J.T. Westroff and replaced with a lectern. The pews were also replaced with open seats and an altar, with rails was installed.

The pulpit is Jacobean, possibly by the same craftsman who made much of the panelling in Chastleton House. It is marked with the date 1623. Originally sited on the other side of the chancel arch, it was built as a triple-decker, with integral reading desk and clerk's desk. The pews in the nave and chancel are Victorian.

Built in the 12th century, it was restored in Victorian times. The church, which is dedicated to St. Peter, consists of a tower, nave, two aisles, chancel, and a south porch. The font is located on the north side of the nave, and is adorned with quatrefoils. A reading desk and pulpit are located in the northeast section.

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.

The Quint released another video on 17 February 2020, where it can be seen that police and para-millitary personnel entered the library and vandalised, breaking chairs and reading desk and damaging CCTVs. It can also be seen that the police lathi charged the frightened students who were trying their best to hide to save themselves from such brutality.

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.

Inside the church, the nave is wide and the aisles are narrow, forming passages. The arcades are carried on round piers. The walls of the chancel curve forward to incorporate the pulpit on one side and the reading desk on the other. Above the pulpit is a sounding board, the underside of which is lined with beaten copper.

All windows were glazed with white cathedral glass. The pulpit, lectern, reading desk and font cover were made of oak, and the octagonal font of Doulting stone. The corbels, finials and terminals were carved by Harry Hems of Exeter, the seating by Messrs. Baker and Son of Bristol and the ironwork by Mr. Leaver of Maidenhead.

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.

The library contained an expansive arched hall which consisted of a reading room, stack room, and a rotunda for lectures. The library was quite large measuring in length by in width. Oblong alcoves held wooden cabinets along walls of which the manuscripts were maintained. In addition, there is evidence for free-standing bookcases in the center as well as a reading desk.

Part of a 15th-century rood screen has been incorporated in 17th-century box pews. They were augmented and rearranged in the 17th century, and have been untouched since the 18th century. The pulpit dates from the 17th century; it is plain but has a reading desk decorated with arcading. The communion rails are in iron and date from about 1830.

The north wall has five bays, with the central one occupied by a pulpit window halfway between the two levels. The interior retains original box pews, with a raised pulpit and reading desk at the center of the north wall. The gallery level has slip pews, and a choir area on the south wall facing the pulpit. The meeting house was built c.

Chancels were suppressed, screens were deemed unnecessary obstructions. Buildings had three defined centres: the font – by the door, the pulpit and reading desk, and the altar. Within Lutheranism similar principles obtained. The Prinzipalstück ideal was of an oblong building without a chancel with a single space at the east end combining all liturgical acts: baptism, service of the word and communion.

The screen dividing the chancel from the nave is carved in Tudor style. The reading desk, pulpit, altar rails and holy table all date from the time of the Commonwealth. Extending across and elevated above the west end of the nave is the Cholmondeley family pew, with steps descending to the nave. The stained glass includes many small Netherlandish roundels.

The date of its foundation is not known, but it appears in the papal taxation of 1306 as Karkastell. The present parish church was completed in 1815. Repairs in the early 1860s saw the roof replaced, roughcast removed from the walls, and smaller panes inserted in the windows. The pulpit and reading desk were moved to the east end and box pews replaced.

Lower Kingswood, Church of Jesus Christ and the Wisdom of God Interior features include an Arts and Crafts movement lectern, pulpit and reading desk, in ebony and holly with mother of pearl inlay; priests' chairs with domed canopies; and Byzantine capitals from Constantinople and Ephesus decorating the aisles and west wall. This has the highest building classification of listing of Grade I.

A church has been on the site since before 1094. The oldest parts of the present church are the tower and the north arcade, which date from the late 15th century. The nave was built in 1813. In 1847 the Lancaster architectural practice of Sharpe and Paley rebuilt the chancel, and in 1851 added a pulpit and a reading desk.

The church's flooring is largely of deal and the aisles paved with tiles from Poole Potteries. The open panelled roof is of stained pine. The original fittings include moveable benches of stained deal, a pulpit and reading desk of oak, and a font of Bath stone. The altar rail of carved oak was transferred from one of the churches in Yeovil.

The lectern (reading desk) is made of solid brass, from a design Burges had originally intended for Lille Cathedral. It is decorated with the heads of Moses and King David. There is a "Heroes Column" (War Memorial) by the Choir, at the Dean's chapel. It contains the names of 400 men from the dioceses killed in battle during the First World War.

Yellow silk draperies frame the windows and ancient icons befitting the season and holidays are exhibited in the alcove which is reminiscent of an icon shrine in an Orthodox Church. The student chairs are of dark oak hand- carved by Romanian peasant artisans using simple pocketknives and each splat bears a different design. The professor's reading desk was adapted from an Eastern Orthodox Church lectern.

The roof is open timbered; the benches, pulpit, > lectern and reading desk, are all of deal, stained and varnished. The church > is well lighted on all sides, and the windows are glazed in quarries with > cathedral tinted glass. It is also warmed by hot water, the apparatus being > supplied by Messrs. Oliver and Co. The remainder of the works have been > creditably executed by Messrs.

The fittings date from the 19th century and are made in pine that has been painted and grained. They include box pews, open back pews, benches, and a three-decker pulpit. The pulpit is octagonal, with a single candle-holder and a reading desk. Above the pulpit is a sounding board, also octagonal, and decorated on its underside with an eight-ray sun pattern.

There was a major restoration between 1844-45 by the architect John Hayward when the Caen stone pulpit by Knight of Exeter, a new reading desk, an oak organ screen and carved pew ends were added. The gallery was removed. A new organ bay in the north aisle was added, along with vestries south of the chancel. It reopened for worship on 26 June 1845.

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.

St Luke's is built of red brick, with dressings in Bath stone and roofs of blue slate, in the Early Gothic style. It was designed to accommodate over 300 persons, and is made up of a nave, chancel, south transept, vestry and south porch. The turret on the west gable contains one bell. Internal fittings include a stone font, oak lectern and reading desk.

Interior view of St. kentigern's Parish Church Aspatria The internal dimensions of the church are:- nave 22 metres by 12,2 metres; chancel 9.2 metres by 4.9 metres. Piers circular and multiangular alternatively. The pulpit made of stone, is on the north side of the chancel arch, and the reading desk is on the south side. The pews are open and uniform, with finials at the end.

George Wood, the rector of Holy Trinity until 1847, in memory of their father. The polished brass used to create the lectern was supplied by Mr. Wippell of Exeter. The reading desk was carved from oak obtained from Wolveton House and gifted by Mr. Miles. The communion rail of brass, iron and oak was created by Mr. Singer of Frome and the furnishings within the rails gifted by Mr. and Mrs.

The wooden communion rails were also removed and a new pulpit and reading desk constructed from them. St Aldhelm's was declared redundant by the Church of England on 13 October 1980. The Church Commissioners were granted permission in 1981 to change the building's use from redundant church to single dwelling. The building was then sold to a private owner and a conversion scheme granted planning permission in 1982.

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.

Major Hayward presented the oak altar table and reredos, the latter being made of Ancaster stone, with marble columns, caps and bases. Mr. Thomas March of Newton gifted the oak altar chairs in memory of John Patten of West Chinnock. The choir stalls and reading desk are of oak. The pulpit of Doulting stone was gifted by Misses E. and M. Hayward of London in memory of Thomas Carlyle Hayward.

The nave was paved with encaustic tiles from Maw & Co and the open roof made from stained deal. Internal fittings included the church's seating of stained deal and an oak pulpit which was transferred from the old church. The chancel stalls and reading desk were made from oak, while the font of Caen stone was gifted by Captain and Mrs. Chas Egerton in memory of their two infant children.

The interior of the church consists of a single nave. At the west end is a wooden and glazed arcaded screen. There is another screen at the east end; this is wooden, arcaded, in Gothic style, and is integrated with a dais and reading desk. There are two schemes of stained glass in the windows, one by Heaton, Butler and Bayne, and the other by Shrigley and Hunt.

Interior The church has a Georgian era hexagonal oak pulpit. There is a carved reading desk, 19th century pews and various stone monuments. There are several stained glass windows, the east window of north aisle (1858) is dedicated to the Gascoigne family with heraldic symbols and knights set in while the chancel has a Norman window with deeply splayed sides. The chancel and nave have a 19th-century hammer-beamed roof.

It is capped with a small spirette and surmounted by a gilded cross and vane. The parapets of the tower contain shields with emblems of St Etheldreda, and monograms of the Acland and Hood families. The church's wooden fittings were carved from oak sourced from Fairfield, the estate of Sir Acland. Many of them, including the pews, pulpit, reading desk, reredos and stalls in the chancel, were carved by Mr. Davis of Taunton.

The pulpit dates from the early 17th century and has an associated reading desk and sounding board. In the southeast of the church is a parclose screen dating from the early 16th century which has a frieze of Perpendicular tracery. The font cover dated 1625 is elaborate. It consists of four columns supporting an arcade with pendants, and has a conical roof with a ball finial on which is a vulning pelican.

Also in oak is the reading desk, dated 1671. Behind the 15th-century altar is a reredos consisting of a curved beam supported by two medieval newel posts. Between the nave and the chancel is a rood screen, again in oak, with a central opening and four further openings on each side. Tree-ring dating has shown that the wood used for making it came from trees felled between 1496 and 1506.

The church was declared a National Historic Landmark in 1987. The designer for Holy Trinity was prominent 19th century American architect Minard Lafever, with stained glass by William Jay Bolton and John Bolton. In 1859 English architect Gervase Wheeler was hired to enlarge and make improvements in the chancel such as modifications to the reading desk and adding pews; Wheeler was directed to follow the original plan in his work.Tribert, Elizabeth Rose.

The pulpit, lectern and reading desk are of oak, and the open seats of stained deal. The north and south sides of the building each have four lancet windows, filled with tinted cathedral glass. The east end has a three-lancet window, with three small circular windows above, and a single lancet window on each side of the chancel. The west end has a two-lancet window with circular and trefoil windows above.

Inside the church is a west gallery. The pulpit and reading desk, three-sided altar rails, a parish chest, and a hatchment commemorating the Aldersley family all date from the 17th century. In the church is a monumental brass to members of the Massie family of Coddington. The east window is to the memory of Samuel Aldersey who died in 1855, and the southeast window is in memory of Hugh Robert Aldersey who died aged 20 in 1848.

In such churches it may be where the minister stands for most of the service. In the eighteenth century, double-decker and triple-decker pulpits were often introduced in English-speaking countries. The three levels of lecterns were intended to show the relative importance of the readings delivered there. The bottom tier was for the parish clerk, the middle was the reading desk for the minister, and the top tier was reserved for the delivery of the sermon.

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.

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.

The interior of the church is very light with a floor of irregular stone flags into which several ledger stones are set. The oak box pews on the north side of the nave are probably early 18th century, and the oak reading desk and pulpit are Jacobean, while the font is Norman. The royal arms of 1751 are over the south door. The 1557 labelled shield of Sir John St Lo's achievement can be seen above the entrance door.

The main facade is three bays wide, with a round-arch opening framed by pilasters and a fully pedimented gable. The interior has its original box pews, whose doors are mounted on wrought iron hinges. It also has the original pulpit and reading desk. Old Trinity Church in 1907 postcard Much of the money and effort to build the church came from Anglican churchman Godfrey Malbone, as a response to efforts to build a Congregational meetinghouse.

Twelve years later the pew was turned into a reading desk and the brass plate was lost until 1831 when the church was demolished. The cause of his death was reported by Peter Le Neve to be 'the anguish of cutting teeth; he having cut four new teeth, and had several ready to cut, which so inflamed his gums he died thereof'. His Brecknock lands were left to his oldest daughter, Philippa, who married Samuel Croxall in 1717.

There are galleries on three sides of the church. A grand organ and case is behind a tall moulded painted arch, and surrounded by choir seating; which consist of plain pews. The pulpit and reading desk is made of Portland stone, bowed front with the high relief carving of The Last Supper. The church's mannered, robust exterior conceals an unusually rich interior, all of which has been retained unchanged and helps to demonstrate the strength of Methodism on the island.

It has a high pulpit, a reading desk and a seat for the clerk. In 1966, bluish Victorian glass which filled all of the windows was replaced with clear glass to let in more light. A little still remains in the tower. The Foden Room (named after one of the Churchwardens) was also built in ordinary brick on the south side (hidden from the road) to give additional accommodation, this was demolished in 2012 and replaced with a much larger community hall.

St Paul's is built of granite stone, sourced from a quarry near Stenalees, with slate roofs, in the Early English style. Designed to accommodate 570 persons, it was built with a cruciform plan, made up of nave, north and south aisles, transepts, chancel, vestry and porch. The original pulpit and reading desk of carved oak was gifted by local residents, and the granite font gifted by T. G. Vawdrey. The pulpit was replaced with one donated by the Mothers' Union in 1933.

St John the Baptist parish church interior The Church of England parish church of Saint John the Baptist originates from before the Norman Conquest: some parts of the tower are undoubtedly Saxon in date.History of Minal, Chapter 3 – The Dark Ages, Normans and Beginnings of a Church However, much of the present building dates from the thirteenth century. In 1816 the interior was refurbished by the villagers. Of particular note are the box pews and the twin pulpit and reading desk.

Cadw describes the set of mid- and later 18th-century furniture as being "exceptional". The oak altar is enclosed by communion rails on three sides; the rails are supported by slender balusters and on the corner posts are finials. In the southwest corner of the chancel is an oak pulpit and a reading desk over which is a sounding board. The seating in the nave, chancel and transept consists of box pews and benches, some of which are inscribed with initials and dates.

On the front of the pulpit is a shield inscribed with Fiat Lux (Let there be light), and on the front of the reading desk is a carved eagle. Behind the altar is a wooden reredos carved by H. H. Martyn of Cheltenham based on Leonardo da Vinci's Last Supper. On each side of the chancel are finely carved wooden choir stalls. Above those on the east side is an elaborate canopy in memory of Henry Tate carved by C. J. Allen.

Until the beginning of the nineteenth century, about a page of text was missing; when Paul Louis Courier went to Italy, he found the missing part in one of the plutei (an ancient Roman reading desk or place for storing manuscripts) of the Biblioteca Laurenziana in Florence. Unfortunately, as soon as he had copied the text, he upset the ink-stand and spilled ink all over the manuscript. The Italian philologists were incensed, especially those who had studied the pluteus giving "a most exact description" (') of it.

The nave > and chancel windows are in Arts and Crafts Decorated style, while those in > the clerestory and in the tower are in Arts and Crafts Perpendicular. Only > the east window has coloured glass. The nave has a modified hammer-beam roof > with tiebeams and kingposts. > The church retains virtually all its Arts and Crafts Gothic furnishings, > including an ambo formed by a low serpentine marble cancelli screen with a > pulpit and reading desk at either end, choir stalls, organ case, font, and > some pews.

Allwood's sermons were brief and Holy Communion was celebrated every Sunday. The organ, which had been installed in 1827, was moved to the space of the southern vestry, and the pulpit and reading desk place in front of it where they could be seen from all parts of the church. The holy table continued to be located at the eastern end of the building. Broughton supported the Tractarian views of Allwood, but his successor, Frederic Barker, who became bishop in 1855, was strongly Evangelical.

A small bell-turret for two bells was added to the west gable. The low pitched roof was built of stained deal and the altar laid with encaustic tiles. The pulpit and reading desk were made of stained oak. The glazing work was carried out by Mr. Gould of Chard, the painting and diaper work of the reredos by Mr. A. Stansell of Taunton and the tablets containing the commandments (gifted by Mr. J. Stephens of Musgrove) was engraved by Mr. T. D. Ward of Taunton.

Original fittings included an oak pulpit on a base of Portland stone. The font, reading desk, altar table, vestibule table and other fittings were made from English oak. The organ was built and installed by the John Compton Organ Company Ltd. The stained glass of the east window depicts Sacrifice and Victory, and is a memorial to the local men who lost their lives during World War I. Although it had suffered significant damage, the war memorial tablet from the former church was salvaged, repaired and placed over the inner west door.

Other improvements included the installation of a new pulpit and reading desk, and the removal of the church's gallery, which involved moving the organ to a platform under the tower. The work cost an estimated £500, £460 of which had already been raised by March 1859, when the plans were approved by the Weymouth vestry. The church reopened on 11 December 1859, with the morning sermon being preached by the Bishop of Salisbury, the Right Rev. Walter Kerr Hamilton, and the afternoon sermon preached by the rector, Rev.

These are noticeable for their sloping top like a reading desk or lectern, in the equatorial plane, usually with a star on top having dials in all its angles, and at 90 degrees to this a hemi-cylinder with a polar dial inscribed in it. The lectern usually has hollow dials on the south, east and west faces, and hour lines are inscribed in every available angle. One of the more complicated was formerly at Mid Calder House and is now at Culzean Castle. Lectern dials have some counterparts in continental Europe.

The north and south sides of the church are strengthened with buttresses, while the west end gable contains a bellcote of Ham stone with one bell and surmounted by a wrought iron cross. The church's porch was added in the mid-20th century. The internal fittings, including the open-timbered roof, pulpit, reading desk and benches, were made of stained and varnished Dantzic fir. After World War I, a wooden war memorial was attached to the church wall in remembrance to the seven local men who lost their lives in the conflict.

St Edern's has several pieces of 17th- century panelwork, possibly of Dutch origin. There is a softwood panel screen between the nave and chancel, decorated with carved flowers and fruit, with a frieze of acanthus leaf. The reredos (the screen behind the altar) has further carved panelling, as does the upper section of the rectangular pulpit, a reading desk, the communion rail and a table. The panels of the communion rail, set between wooden columns decorated with fruit, flowers and ribbons, are topped by a long balustrade, also decorated with acanthus leaf.

The north window in the vestry has details similar to those of the blocked nave window, and reuses some medieval material in the window sill. There is no stained glass in the church; all the windows have clear glass. The church furniture (pews, pulpit, reading desk and chancel rail) is from the 19th century; all the items are all decorated with trefoil holes. A survey of church plate within the Bangor diocese in 1906 recorded some plain silver- plated items (chalice, paten, flagon and alms dish) without inscriptions or dates.

The north porch was added, and the east window was inserted, during the 15th century. Around the same time, diagonal buttresses were added at the east end—possibly because the insertion of new windows in the chancel had weakened the walls. In 1882–83 the church was restored by the Lancaster architects Paley and Austin. They replaced the two-bay south aisle with a full-length aisle, removed the west gallery, and added new floors, an altar with altar rails, stalls, a lectern, and a reading desk, and reseated the church.

The chancel has one window in the east wall, which has three lights (sections of window separated by stone mullions). The pulpit has some 19th- century oak panelling and reuses some ornate 17th-century panel work that is decorated with pictures of cherubs, dragons, dogs and lions' heads. The pews are made of pine; the choir stalls also have some carved oak panels that may date from the 17th century. A reading desk from the 19th century reuses material from the 14th and 17th centuries, depicting a lion, a griffin and angels.

Newlands Church is a 16th-century church situated less than 500 metres west of the hamlet of Little Town, Cumbria, England in the Newlands Valley of the Lake District. Its exact date of origin is unknown, but a map of 1576 shows a "Newlande Chap." on the site. The church exterior presents white-washed roughcast walls and a green slate roof; the interior displays two stained glass windows, a gallery, and a reading desk and a pulpit dated 1610. Tourists and hillwalkers visit on their way to the fells.

As a result, the Flemish Synagogue has a beige, Dutch exterior and an Italian interior, with marble, and a reading desk incorporated into the ark for the Torah, instead of being positioned in the centre of the building. After 1945, Moroccan tiles were installed in the interior of the synagogue, which has ornately patterned ceilings and walls. The only remnant of the original garden is a single palm tree in the synagogue's courtyard. The Flemish Synagogue, which remains an active place of worship, is located at 65 Line Wall Road.

The wooden pulpit on the north side of the chancel was hand carved, and the reading desk on the south side. A reredos was erected in 1875, paid for by public subscription to the memory of John Atkinson, a previous churchwarden and through whose organisational skills the church was erected. The font, which is over 800 years old, stands in the church near the porch, it is an interesting relic of antiquity and was formerly in the chapel at Hayton Castle. The pipe organ was installed as a war memorial.

His son, the Rev. Virgil Barber, also became an Episcopal priest, but left the church in 1816 to become a Jesuit priest and to later found St. Mary's Parish in Claremont, the first Roman Catholic church in New Hampshire.CATHOLIC ENCYCLOPEDIA: New Hampshire When the church was built, it did not originally have a tower, and was a relatively modest structure despite its massive roof framing timbers. The tower was added in 1801, and the building was lengthened by some in 1820, at which time a pulpit and reading desk were added.

Near the daughter's room was the gun case, containing a mix of revolvers, shotguns, rifles, and cutlasses, which were thought to come in handy during visits to the South Seas. Wade's stateroom had elaborately carved mahogany, a double bed, a closet, moveable reading desk, and a porcelain-lined bathtub with hot and cold running water. The table in the dining room seated eight and was furnished in polished red mahogany. The dining room also featured a wine closet, a butler's pantry and a dumb waiter to the galley below.

The pulpit was removed to the east side and the reading desk to the west side. The next change to the interior was brought about suddenly by a fire on July 18, 1865, which destroyed a building at the rear of the church, the heat affecting the north wall of the church so seriously as to require its reconstruction. As a result, the organ was moved to the south gallery of the church, and in 1866 the chancel was remodeled again. This was done upon designs and under supervision of John Crump, builder.

St Mary's Interior, showing font The porch incorporates a vestry and stairs leading to the panelled gallery which is supported by square fluted columns and occupies the west and south sides. At the east end are box pews created for George Anthony Legh Keck of Bank Hall while the west end has open benches. In the centre of the north side is a reading desk. The church has an octagonal panelled pulpit, an 18th-century font in the form of a simple baluster, a 19th-century cast iron stove decorated with wreaths standing on claw feet and a flagged floor.

St Edwen's Church, Llanedwen is a 19th-century parish church near the Menai Strait, in Anglesey, north Wales. The first church was founded here by St. Edwen (daughter of Edwin of Northumbria, king and saint) in 640, but the present structure dates from 1856 and was designed by Henry Kennedy, the architect of the Diocese of Bangor. It contains some memorials from the 17th and 18th centuries and a reading desk that reuses panel work from the 14th and 17th centuries. The 18th-century historian Henry Rowlands was vicar here, and is buried in the churchyard.

Together, the variety of window designs speaks about the Bible and the history of the building. A unique element on the exterior of the church is the line of colourful shields under the eaves. Mary Lambart Swale died at the age of 25 and gave the Toronto diocese a gift of 5,000 sterling to build a church. She requested that the church in the Gothic style, that the name be Holy Trinity, that the reading desk and pulpit not be placed as to obstruct the view of patrons, and that the pews were to be free for everyone forever.

From a note to a 1796 edition of Walton's Lives, quoted in H. B. Maling, 'Leighton Bromswold, the Church and Lordship'. > It appears from a recent survey of this church, that the reading desk is on > the right hand in the nave, just as you enter the chancel, and that is > height is seven feet, four inches; and that the pulpit is on the left hand, > and exactly of the same height. They are both pentagonal. The church is at > present paved with bricks; the roofs bother of the church and chancel tiles, > and not under drawn or ceiled.

The exposed roof timbers date from the 19th century. Most of the fittings date from the middle of the 19th century, with the exception of a reading desk made from two 15th-century bench ends, one of which is carved with a mermaid holding a comb and a mirror. The desk had previously been in St Eilian's Church, Llaneilian. A survey in 1937 by the Royal Commission on Ancient and Historical Monuments in Wales and Monmouthshire also noted the octagonal font of uncertain date, two 17th-century memorials inside the church, and some memorials from the 17th and 18th centuries outside it.

Its initial form was one that was quite common in the surrounding hill towns, and the 1825 addition of a bell tower was a nod to the growing trend towards towers on religious buildings. The 1848 separation of civic and religious areas was the town's solution to state- mandated separation of church and state, and the 1867 reorientation completed the transformation of the building to a more typical 19th-century church appearance. Interior alterations to the religious sanctuary also echoed trends, including the removal of the high pulpit in favor of a reading desk, and the replacement of box pews with bench pews.

The Southern Times - The improvement of Holy Trinity Church - 14 April 1900 - page 6 In 1900, the choir stalls, pulpit, reading desk, communion rails and font of the church were relocated to the newly-erected Ashley Chapel at the Dorchester Workhouse and new replacements added to Holy Trinity at the expense of Miss Ashley.The Bridport News - Dedication of the Ashley Chapel at the workhouse - 23 March 1900 - page 7 Reredos were added to the church in 1897 as a memorial to Rev. H. Everett, rector of the parish until 1896. In 1906, Thomas Hardy presented the rector of the time, Rev.

In rebuilding the interior of the house after the fire of 1861, Salvin followed Blore's design in some of the rooms, and in others he used his own designs. The Entrance Hall very much follows Blore's design. It has a panelled ceiling with pendants, and the windows contain 19th-century stained glass arranged by Willement, featuring the arms of the Davenport and Ward families. The chimney piece was added by Salvin, and contains the figures of a caryatid and an Atlas that were formerly part of the reading desk of the two-decker pulpit in the chapel.

The arcades are carried on octagonal piers. The font dates from the 15th century. The pews and the reredos are from the 1880s, and the chancel screen, which incorporates the pulpit and a reading desk, was added in 1920 as a memorial to those who died in the First World War. The memorials include a marble wall monument to the Palladian architect Matthew Brettingham, who designed Holkham Hall, and other family members, and one to a textile manufacturer, Thomas Clabburn, erected by "upwards of six hundred of the weavers of Norwich and assistants".See The Descendants of Thomas Clabburn, born 1760 at airgale.com.au.

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.

The pulpit and > reading desk, situated on the north-west and south-west angles of the > chancel are of wood, supported on wrought iron work. The columns for the > reredos are of Derbyshire marble, and are of very chaste appearance. The > dimensions of the building are as follow: the nave 92 feet 6 inches in > length within the walls, ad the width including the aisles 59 feet 6 inches; > the chancel 35 feet by 22 feet. The tower which is about 16 feet square, is > about 80 feet in height, the spire about 100 feet, giving a total altitude > from the ground of 180 feet.

While removing old plaster from the walls, a doorway leading to the rood loft on the north side of the chancel arch was uncovered. The plaster removal also located a 13th-century tomb in a recess of the north nave wall. During the restoration, a tomb in the chancel floor from circa 1200 and the church's original pillar piscina were also located. When the restoration was completed, the church had been completely re-roofed, the church walls and tower were renovated, new floors were installed along with new pews, a new pulpit and reading desk, as well as a new altar and altar rail.

These involved raising of the east end of the church, extension of the chancel platform, raising the choir stalls, with a step for the holy table, purchase and installation of a cedar reading desk and clergy seat.Lamb, et al, 1984, in Davies, 2003, 17 1908 was a time of crisis between the two leading ideologies within the Church of England, concerning vestments of priests and formality of the liturgy. At the end of Reverend Stubbin's ministry in 1922, Wollongong had all the hallmarks of a town about to grow into a very large city. Archbishop John Wright looked to put a strong Evangelical into the parish to see it through this growth.

The pulpit is notable for its mosaics, the decorative patterns of which inspired the interlocking patterns used by M.C. Escher, who spent time in Ravello in the 1920s and studied the church and the pulpit; Ravello was one of his favorite places. One mosaic is of Jonah emerging from the whale. An eagle supports the reading desk, and it holds a book opened to the first sentence of the Gospel of John. The "beautiful" pulpit, which dates from the time of Roger I of Sicily, also contains Oriental pottery ("underglaze-painted and lustre-painted stonepaste bowls, probably Syrian") and Arabic script, and the steps up to it contain well-preserved frescoes with scenes from the life of Christ.

The plans were drawn up by Mr. G. R. Crickmay of Weymouth and the work carried out by Mr. R. Reynolds of Weymouth, under the supervision of the architect. The work included repairing the walls, replacing the pews with new ones of stained and varnished deal, laying new flooring and replacing the church's gallery. The two small windows on the west side of the porch were replaced by a larger, single one, the timbers of the nave's roof were restored, and new timber roofs added in the porch and south transept. New fittings were also added to the church, including a pulpit fixed on a pedestal of Portland stone, an octagonal font of Portland stone, a reading desk and communion rail.

Rowan, Alistair, The Buildings of Ireland: North West Ulster, p.301 The church was burnt to the ground in 1979 with only the tower and external walls surviving; nothing remains of the original interior. Before the fire, Rowan described St John's as “an attractive and unusually complete late Georgian gothic church”.Rowan, Alistair, The Buildings of Ireland: North West Ulster, p.301 The restoration by W. Dent was executed in a plainer gothic style and the church was reconsecrated in 1982. The current furnishings include a fine High Victorian marble pulpit, reading desk and font from a defunct Church of Ireland church in Dublin, as well as an ornate Victorian communion rail and lectern, both in brass. Stained glass by Caldermac Studios (Lisburn) was installed in 1982.

The organ—of a deep and mellow tone, and highly ornamented by figures in relief—was built at Canterbury sometime around 1700. The pulpit and reading-desk, richly sculptured in oak, is another well-executed piece of ecclesiastical workmanship from St. Omer. The altar-piece, the Assumption, was often attributed to Anthony van Dyck, though in reality it is by Gerard Seghers; whilst the painting over the side altar, once believed to be by Peter Paul Rubens is in fact by Pieter Van Mol. A high and strongly built wall, partaking more of the fortress than a cathedral in its aspect, flanks the building, and protects it from the street where formerly ran the old river, in its course through Calais to the sea.

The fourth stage is the belfry with abat-sons, and a ring of six bells, three originals dating to 1689, and three recast in the 18th and 19th century. The nave interior includes an 1876 pipe organ by Charles Martin of Oxford at the corner of the north wall and chancel arch, a wooden pulpit and reading desk, and an octagonal stone font, and late 17th or early 18th-century marble tablet memorials to the Ingram's family.St Michael's Church, Great Wolford, Warwickshire, Google Street View (image date July 2009). Retrieved 17 October 2019"Great Wolford, St Michael and All Angels 6, 11-3-7 in Ab", Church Bells of Warwickshire. Retrieved 25 October 2019"9 valid peals for Great Wolford, S Michael & All Angels, Warwickshire, England", Felstead Database (includes photographs and video).

The portico is flanked by two long narrow rooms on each side, and the large vaulted hall would have combined the functions of a reading room, stack room, and perhaps a lecture room. Oblong alcoves held wooden shelves along walls that would likely have been complete with sides, backs and doors, based on additional evidence found at the library at Ephesus. It is possible that free-standing bookcases in the center of the room, as well as a reading desk, might also have been present. While the architecture of the Library at Timgad is not especially remarkable, the discovery of the library is historically important as it shows the presence of a fully developed library system in this Roman city, indicating a high standard of learning and culture.

Revel, Haute-Garonne, France Pulpit at Blenduk Church in Semarang, Indonesia, with large sounding board and cloth antependium "Two-decker" pulpit in an abandoned Welsh chapel, with reading desk below 1870 Gothic Revival oak pulpit, Church of St Thomas, Thurstonland Ambo, in the modern Catholic sense, in Austria 19th century wooden pulpit in Canterbury Cathedral A pulpit is a raised stand for preachers in a Christian church. The origin of the word is the Latin pulpitum (platform or staging). The traditional pulpit is raised well above the surrounding floor for audibility and visibility, accessed by steps, with sides coming to about waist height. From the late medieval period onwards, pulpits have often had a canopy known as the sounding board, tester or abat-voix above and sometimes also behind the speaker, normally in wood.

The east windows in both the north and south transepts are each topped with a cinquefoil. The nave windows date from the late 19th century. The bell is one of the oldest in the diocese, dating from the late 13th century. It bears the imprint of a penny from the reign of King Edward I (reigned 1272–1307) and the Latin inscription ("Hail Mary full of grace"). Restoration of the bell in 2000 cost £3,000. The reredos, altar, communion rail, pulpit and reading desk (all from the early 20th century) are made from limed oak in an Arts and Crafts style, with floral decorations. The north transept has a stone memorial on the north wall to a former rector, Lewis Owen, and his grandson, who both died in 1771. The font is modern.

Many medieval carvings and furnishings were removed by the Puritans in the sixteenth and early seventeenth centuries, including the lead and timber of the roof of the north aisle, taken to make the roof of the rectory. New furnishings were installed when there was a revival of ceremony during the reign of Charles I. Among the work that has survived is a light rood screen of 1637, separating but not hiding the altar from the worshippers. To this was added Alice Thornton's gift of colourful altar cloths, pulpit cloths and hangings in purple and scarlet with fine embroiderings, none of which has survived. Other woodwork of the time that has survived suggests that there was a tall pulpit with a reading desk below, but only the pulpit remains today.

The analogue Mars Lander Habitat, commonly referred to as "The HAB", is a two-story cylinder that measures about in diameter and is a crew's combined home and place of work during a Mars surface exploration simulation. On the first floor there are two simulated airlocks, a shower and toilet, an EVA Preparation room for storage and maintenance of the simulated space suits and their associated equipment, and a combined science lab and engineering work area. The laboratory is shared between the Crew Geologist and the Crew Biologist and includes an autoclave, analytical balance, microscope, and a stock of chemicals and reagents for conducting biochemical tests. On the second floor are six very small private crew staterooms with bunks and a small reading desk, a common dining and entertainment area, a dedicated communications station and a galley or kitchen equipped with a gas stove, refrigerator, microwave, oven and a sink for meal preparations.

No expense was spared to make it of a quality commensurate with its environments and function. All Souls Chapel circa 1920 Maine granite from the best quarries was procured for the walls and arches; quarter-sawn oak of the finest quality was used for the ceilings, doors, and other interior woodwork; brass for sills, reading desk, railings; and a floor of inlaid mosaic of beautiful and expensive design was made. The work of construction was performed by Italians brought here from Boston, and was done slowly and with great care, that no detail should lack in permanence or artistic value. The large memorial window in the alcove at the front of the church is of stained glass illustrating the inscription which runs through it, “I am the Resurrection and the Life.” Through the bottom of the window are the words, “Glory be to the Father, and to the Son, and to the Holy Ghost.” The center section of the window contains the figure of Jesus and is resplendently beautiful in its coloring.

The actual rebuilding was supervised by John Ferrar, and Arthur Wodenoth, a wealthy gold merchant, who was also a subscriber, acted as Treasurer and during John Ferrar absence as his deputy. It is recorded later (by John Ferrar in 1632) that there were 18 masons and labourers and 10 carpenters at work during the reconstruction and that 'all was finished inside and out, not only to ye Parishioners own much comfort and joy, but to the admiration of all men, how such a structure should be raysed and brought to pass by Mr Herbert'. Shortly after 1626 the work was completed by pulling down the north arcade and aisle and building the north wall of the new aisleless nave and the north porch; he re-roofed the whole church and put in the pulpit, reading desk, dwarf screen and seating. In 1630, three years before his death, he entered priesthood and took up his duties as rector of the little parish of Fugglestone St Peter with Bemerton St Andrew, near Salisbury in Wiltshire.

However, before the church opened, a decision was made to increase its capacity by installing an extra gallery. To avoid blocking the windows, this was put at the end opposite the entrance, and the altar was placed against one of the long walls, with the pulpit and reading desk against the other.The axis of the church runs north-south, with the entrance at the north end; in both Bedford's original plans and Street's rearrangement the altar is at the north end, while the initial arrangement had it against the east side See Cherry and Pevsner 1990, pp.335-6. Thomas Allen in his History and Antiquities of the Parish of Lambeth (1827) wrote: > Whoever looks at the exterior of this edifice will be greatly disappointed > on entering it to find the church has been turned on one side; where he > expects to meet with the altar he will find a gallery; if he looks for the > pulpit, it meets his eye in an unusual and awkward situation, rendered still > more apparent by its relative situation to the altar.

The pulpit and parson's reading desk were normally to be set at the east end of the church, on either side of the sanctuary. The Commission would not approve plans where services were to be led by parson and parish clerk from a centrally located triple-decker pulpit, although a number of incumbents subsequently arranged for the pulpit to be moved into the central aisle, with or without the approval of the Commission. Pews in the body of the nave were expected to be subject to pew rents but the Commission insisted that a substantial proportion of seating, in the galleries and on benches in the aisles, should be free. Nevertheless within two decades, these design principles had been overtaken by the widespread adoption of 'ecclesiological' ideals in church design, as promoted by the Cambridge Camden Society; so that mid-Victorian High Churchmen routinely deprecated the original liturgical arrangements of Commissioners Churches, commonly seeking to rearrange their eastern bays with a ritual choir and chancel on ecclesiological principles. By February 1821, 85 churches had been provided with seating for 144,190. But only £88,000 (equivalent to £ in ) of the original £1 million remained.

He was appointed by the Bishop of Bloemfontein, the Rt Revd Allan Webb, being diverted from Modderpoort to the Diamond Fields when he arrived in 1871. The writer J. W. Matthews recalled the "primitive state of things existing" in church matters when he reached the Diamond Fields in November 1871: worshippers gathered in a canvas tent billiard-room: > "On entering I beheld a full-robed clergyman officiating at one end of a > billiard-table, which served for his reading desk, whilst a large and > attentive crowd sat around the other end, some on rude benches which were > fixed along the walls, others perched upon gin cases, buckets reversed, or > any other that came to hand. The congregation behaved with suitable decorum, > but I confess it was not easy to keep the mind from wandering to the > incongruity of the surroundings. ..When the parson was praying or the people > singing, it was not particularly edifying to be interrupted by the lively > chaff and occasional bursts of blasphemy, which we could plainly hear > through the canvas party-walls, which separated us from the adjoining bar > and its half tipsy occupants".