Reredos & TabernacleThe current reredos was installed in 2013."History: Reredos" St. Dominic Church Bulletin. Washington, DC: May 6, 2018 A tabernacle from Belgium was installed around 2011. The ornately carved wooden altar was a gift of L. Kevin and Anne Lynch in memory of Rev.
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Reredos by Salviati of Venice The reredos, installed in 1868, is a fine mosaic by Antonio Salviati depicting the Last Supper. The cartoon is by John Clayton of Clayton & Bell and is nearly identical to the Salviati reredos in Westminster Abbey, installed a year earlier.
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The reredos and font were manufactured by Messrs Bradbury at their serpentine manufactury at the Folly, Penzance. The reredos was made to the designs of Charles Eamer Kempe.
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A side reredos A side reredos and azulejos The church contains a variety of reredos. The altarpiece is fire-gilded. The center of the altarpiece contains an image of the Virgin of Mercy, declared in 1615 the "heavenly protector of [Lima]." In 1730 the Cabildo named her "Perpetual Patroness of the Fields of Lima,".
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Reredos depicting the Immaculate Conception. Portuguese, 17th century. Santarém, Portugal A reredos ( , , ) is a large altarpiece, a screen, or decoration placed behind the altar in a church. It often includes religious images.
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The first reredos, dated 1610, is now damaged and in 1974 was kept under the tower. It has been replaced by a second reredos dated 1682. Henry Norris, 1st Baron Norreys is buried here.
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Detail of the Saint John's Hagerstown Reredos. The High Altar and Reredos are metaphors for Christ as the Word Incarnate. Saint John's wrought iron rood screen separates the Sanctuary from the Apex and Congregation.
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The term referred generally to an open hearth of a fireplace or a screen placed behind a table. Used in the 14th and 15th centuries, reredos had become nearly obsolete until revived in the 19th century. A reredos differs from a retable in its size and positioning; while a reredos typically rises from ground behind the altar, the retable is smaller and stands either on the back of the altar or on a pedestal behind it. Many altars have both a reredos and a retable.
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The rood and reredos are both the work of Sir Charles Nicholson.
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A reredos was installed in his memory in St Peter's Church, Lowick.
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The term reredos is sometimes confused with the term retable. While a reredos is generally placed on the floor behind an altar, a retable is placed either on the altar or immediately behind and attached to the altar. In French (and sometimes in English by confusing the terms), a reredos is called a retable; in Catalan a retaule, in Spanish a retablo, etc. Reredos is derived through Middle English from the 14th century Anglo-Norman areredos, which in turn is from arere behind +dos back, from Latin dorsum.
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It measures 22 by 20 feet and includes two statuary niches. It was eclipsed in the year 1796 by an impressive baroque-style relief sculpture shipped from San Blas, Mexico, called a reredos. A reredos is often wooden with niches and holds statues or paintings. This reredos continues to stand as the backdrop to the mission altar and has concealed the wall painting for over 200 years.
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It said that the new "handsome" arch showed the east window "to great advantage", with "other improvements" including a "handsome reredos". Ernest Hardy, principal from 1921 to 1925, said that the work was "ill-considered", described the reredos as "somewhat tawdry" and said that the Jacobean woodwork had been sold off too cheaply.Hardy, p. x In contrast, the architectural historian Nikolaus Pevsner called the reredos "heavily gorgeous".
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The abbey has two reredos. The more recent is in the Lady Chapel, and was designed by Laurence Whistler in 1969, and fashioned in glass. The second, more substantial reredos was installed in 1884 and designed by RH Carpenter.
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See also p. 21. The reredos and communion table at St James Garlickhythe.
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From this same reredos there are several tables kept in the Museo del Prado.
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Underneath the stained glass window is an intricate wooden reredos with gold and green detailing.
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The Communion-table is of wood, with a vulgar-looking attempt at superaltar and reredos.
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Internal fixtures include an octagonal font, balustraded pulpit, choir stall in the chancel and the reredos.
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His work also includes extensive Biblical sculpture for the reredos of the Emmanuel Lutheran Church in Pleasantville.
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The wooden reredos scene above the Lady Altar was carved by Ferdinando Stuflesser, of Ortisei, Bolzano, Italy.
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In 1917 a stone reredos, designed by Harry Paley, was installed as a memorial to Colonel Blundell.
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The reredos is elaborately carved. It has a central crocketed canopy with a spire, and side arcades with crocketed gablets. The reredos includes marble shafts, and in the side arcades are life-size statues. The marble pulpit is octagonal, contains statues in arched niches, and has a curved staircase.
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The pews date from around 1870 and have roundels to the top. The reredos depicts the Last Supper.
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The builders were Messrs Patman and Fotheringham. It was opened by Cardinal Wiseman on 20 May 1863. John Francis Bentley added the present reredos, high altar and communion rails in 1870/73. The reredos, which is thirty feet high, has two tiers of saints painted on slate by Nathaniel Westlake.
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Reredos, Pearson, 1890 The 15th-century roof can be seen in the nave, and the 17th-century roof in the chancel. Bench pews are from the mid-19th century. The three-panel reredos of 1890 was designed by J.L. Pearson. A new organ by Conacher and Co was installed in 1908.
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Currently in the central is venerated, in a small reredos, a size of the Virgin Child, of singular beauty.
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Inside the church is an open timber roof. The reredos, and almost all the stained glass, is by Kempe.
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Interior The pulpit and reredos were added by Temple Lushington Moore in 1889. The tower was restored in 1980.
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The interior was remodelled in 1995, and features a coffered ceiling and a "rather wild Baroque altar and reredos".
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St Clement, Eastcheap: the reredos in May 2008In 1933 the architect Sir Ninian Comper revised Butterfield's layout, moving the organ to its original position on the west wall and reassembling the reredos behind the altar, although before he did so, he had the reredos painted with figures in blue and gold. St. Clement's suffered minor damage from bombing by German aircraft during the London Blitz in 1940 during the Second World War. The damage was repaired in 1949–50, and in 1968 the church was again redecorated.
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Design for reredos, St Bartholomew's 1874 St Bartholomew's, Armley, Leeds, was founded in 1872, and consecrated in 1877. The Caen stone reredos of this church erected in 1877 has alabaster carvings, representing the Magi, crucifixion and Old Testament figures. Appleyard was present at the consecration on 24 August 1877, listed alongside the architects Henry Walker and Joseph Athron who designed the building and reredos. Since no other stone carver is credited for this work, it is reasonable to suppose that it could be the work of Appleyard.
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East Window by Edward Burne Jones and reredos. The chancel has a wooden barrel vaulted ceiling, the trusses supported by corbels bearing stiff leaf decoration. The altar is on steps of Devonshire marble installed in 1898. The reredos, the carved screen behind the altar, is of alabaster and was installed in 1903.
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A large vestry extension was added in 1964. A fire in 1999 destroyed the original high altar and reredos paintings.
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Carrara marble from the reredos (high altar) was used to create an altar, lectern, and a presider's chair in 1986.
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This reredos of Father Damien in the Episcopal St. Thomas the Apostle Hollywood shows cross- denominational veneration of the priest.
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An organ reredos dating to 1833 was removed in 1965. Additional restoration of paintings was completed between 1987 and 1991.
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The church renovation in 1986 included removal of a reredos (high altar) made by the Deprato Studio of Chicago. It was installed in the sanctuary in 1906. The Carrara marble from the reredos was used to create a new altar, a lectern, and a presider's chair as part of the renovations made in 1986.
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Marshall 2009, pp. 157, 177. A reredos in the form of a Gothic arcade stood at the east end of the church from the Chambers restoration; this was designed by William Hay and executed in Caen stone with green marble pillars. In 1953, this was replaced with a fabric reredos, designed by Esmé Gordon.
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The font consists of a baluster and a fluted bowl dated 1744. The reredos, altar table, and communion rail dating from 1946 were designed by Sir Charles Nicholson. Behind this reredos is an older one from 1820, in Gothic style, containing arcades with ogee heads. The pulpit dates from 1876 and contains carvings of apostles.
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The vaulting is carried on octagonal shafts between the windows. On the sides of the chancel are two-bay arcades. The reredos is in stone, and consists of traceried panels, the outer ones of which are inscribed with prayers and other text. The reredos and the font were designed by John Roddis of Birmingham.
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Reredos, St. Johns RC Church, Orange NJ. Goyers Brothers, Louvain, Belgium, 1892 The centerpiece of the interior is the carved oak paneling and reredos of the high altar, created by the Goyers Brothers of Louvain, Belgium, in 1892. The four rear panels which flank the altar contain angel figures in high relief. Each angel carries a scroll with a phrase from the hymn "Gloria in excelsis Deo." The carved work is continued on the reredos, with the Last Supper, other sacred scenes, and figures of angels and saints carried upward to a great height.
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So while the Reredos is a reredos, it is also a model of a Rood Screen. Separating the Reredos from the High Altar is a Sanctus ribbon from the 1559 B.C.P., drawing on Isaiah 6:3 but lacking the Benedictus found in the 1549 B.C.P. Sanctus, derived from Matthew 21:9. The Sanctus is followed by Psalm 50:5, the call to be judged for the acts of one's life, before the Throne of God. The High Altar's base features a triptych of two Old Testament events laying foundations for Christ's priesthood.
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This Colour was presented by Governor General Vincent Massey, on 5 October 1957. The Reredos was carved by the Rowley Family.
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The reredos is over high and wide. It was carved from soft, white volcanic stone quarried near Pojoaque and was originally painted, though only traces of color remain. Reliefs carved into the stone depict a variety of religious iconography. At the crown of the reredos, God appears above the Mother and child (Our Lady of Valvanera).
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The altar and reredos are crowned by a small dome. The reredos contains a large altar-portrait of the church's patron painted by the Brother Francis Schroen, S.J. circa 1910. The church building continues to serve as the parish church, for the parish of Saint Francis Xavier, a parish of the Roman Catholic Archdiocese of Washington.
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Interior construction continued until 6 July 1927 when the church was consecrated. The rood screen was designed by Williams. The ceiling, organ gallery and reredos were designed by Geoffrey Webb. The reredos is a painted copy of the Coronation of the Virgin by Fra Angelico, it was designed by Webb and built by Robert Bridgeman of Lichfield.
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Some of the clergy stalls in the rear have elaborate carvings. Behind them is a polychrome reredos, its niches filled with sculptures.
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It is made of polychrome cypress wood, it carries on its left knee its son Jesus and in its right hand it holds a fleur-de-lis. Because it was very damaged in the 14th century, it was reformed giving it a "Gothic air" and covered with silver veneer. It was venerated in the primitive reredos of the main altar of the cathedral, from where it comes the popular name of Santa María de la Mayor. When the new reredos for the main chapel was built, the image was transferred to the church of Santa María de los Huertos and in 1617 it returned to the cathedral to occupy a place in the reredos of the chapel of la Annunciación until 1673, in the one that moved definitively to the reredos of the backchoir.
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Bygone Aldershot Churches- Aldershot Civic Society websiteRev Edward Pearce Lowry - Find a Grave The reredos is dedicated to Frances Penelope Wharton Middleton The nave is supported by columns of cast iron capped with Bath stone. The preserved reredos behind the now removed altar was created in mosaic and tiles and showed the Ten Commandments and the Lord's Prayer. The reredos is in memory of Frances Penelope Wharton Middleton, the daughter of Lieutenant-Colonel Lewis Watson who fought at the Battle of Waterloo in 1815 as a Major in the 69th Regiment. She is further commemorated on a brass plaque dated 1882 placed at the bottom of the reredos by her husband Richard Wharton Middleton of Leasingham Hall in Leasingham in Lincolnshire; he had also fought at Waterloo as an Ensign.
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The reredos and south chancel window were presented in 1912. The church was designated a Grade I listed building on 22 February 1967.
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The reredos formerly at the Society of the Sacred Mission at Kelham College and much of the decoration is by George Frederick Bodley.
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St Marys church, Ingleton: about the church Other treasures include a Vinegar Bible and a reredos with a carving of the Last Supper.
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The beams of the roof can be seen from inside the church. Behind the altar is a panelled reredos from the 19th century.
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All the fittings have been removed apart from the reredos which consists of an arcade. Remnants of the Audsley stained glass have survived.
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The reredos, dated 1798 The wooden reredos or altar screen dates to 1798 and is said to be the work of an unnamed artisan known as the "Laguna Santero" who was active in New Mexico between 1796 and 1808. The screen is flanked by large Solomonic columns. A niche in the center of the reredos, with its own small pair of columns, contains a wooden statue of St. Michael the Archangel wielding a sword. The statue originated in Mexico in 1709 and has been in place at least since 1776, when it was mentioned in Domínguez' inventory of the church.
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The richly decorated alabaster reredos contains paintings with gold backgrounds depicting the Nativity, the Annunciation, and the Assumption. These have been attributed to J. A. Pippet of Hardman & Co. In front of the reredos is a richly-carved altar and benediction throne under an elaborate canopy. The two-manual pipe organ was made in about 1880 by Wadsworth of Manchester.
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Comper is noted for re-introducing the 'English altar', an altar surrounded by riddel posts. Comper designed a number of remarkable altar screens (reredos), inspired by medieval originals. Wymondham Abbey, Norfolk, has one example. Reredos in Wymondham Abbey, designed by Comper Only one major ecclesiastical work of Comper's is in the United States, the Leslie Lindsey Chapel of Boston's Emmanuel Episcopal Church.
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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.
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The interior was restored in 1712, and the reredos was whitewashed. The chapel was used for worship until 1799, but after that it was used for storage. In 1852 it was restored for T. Estcourt to be used again for worship by those living in the nearby hamlet. The whitewash was removed from the reredos, and the old pews and pulpit were replaced.
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The large reredos, with a central painting of the Adoration of the Magi and flanking panels of child angel musicians, is signed by him.
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The interior includes panels with plasterwork decorations and a reredos with Ionic columns. There is a memorial to a soldier from World War I.
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There are some medieval brasses and marble monuments. Under the stained glass east window is a wooden reredos with a carving of Agnus Dei.
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Sir Philip Stott hired designer Ninian Comper to improve the church with reredos and stained glass. The church is a Grade I listed building.
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In 1876–1877 a reredos and altar were erected in memory of William Backhouse Astor, Sr., to the designs of architect Frederick Clarke Withers.
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A reredos was given by Mr. R.G. Lomas of Derby. The church was re-opened by the Bishop of Southwell on 8 April 1885.
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In the chancel is a recess for a sedilia, and an alabaster reredos. In the south window of the chancel is stained glass from 1913.
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The porch The reredos St Mary the Virgin's Church, Cavendish is a Grade I listed parish church in the Church of England in Cavendish, Suffolk.
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The complementary visual effect of the reredos, combined with the extensive collection of stained glass around the building in an identical artistic style, is outstanding.
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Frank Guernsey carved the altar from Oamaru stone in 1939, and the reredos (an altarpiece) from kauri in 1944. The organ was installed in 1929.
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It has a marble altar and reredos. There are 12 triple-lancet stained glass windows on the walls, and a rose window behind the altar.
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The interior features rich colours and strident colour contrasts, characteristic of Butterfield's work, compared to the exterior. All the stonework is constructed of the Waurn Ponds limestone with contrasting stripes of the very dark- coloured local bluestone. The dado, floor, high altar and reredos are outstanding examples of High Victorian Gothic polychromy. The reredos is made from Devonshire marble, alabaster and glittering Venetian glass mosaics.
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The Roman (round) arch predominates in the interior decor. It is found prominently in the chancel arch, the blind arches where the side altars are located, the reredos of the high altar, the stained glass windows, and the Stations of the Cross. The altars are carved wood with marbleized painted surfaces. Statues of St. Peter and St. Paul flank a central crucifix in the reredos.
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Many of the furnishings are by Kempe and were taken from the chapel of Caldy Manor which was dismantled when the church was built. These include the choir stalls and the reredos. The reredos has panels of marquetry depicting the crucifixion. Some of the stained glass in the church is by Kempe and the southwest window is by A. J. Davies of the Bromsgrove Guild.
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Sellers designed and Maene executed St. Clement's Lady Chapel, which was dedicated in 1915. Its altar, reredos, and groin-vaulted ceiling are all carved from red English sandstone. The altar front has three arched niches, each with a relief figure of an angel. The reredos features three niches with statues of Saint Joseph and Saint Elizabeth flanking a central statue of the Virgin and Child.
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The church has a virtually complete set of high box pews. The reredos is by William Percival Starmer (1877–1961). Behind and above the reredos is a stained glass window by James Powell and Sons installed in 1921.Pevsner, Nikolas and Brookes, Alan Worcestershire 2007 Yale University Press p595 On the west wall of the West End Gallery are the coat of arms of George III.
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The flooring is paved with encaustic and plain tiles, and the lower region of the interior walls of the nave and aisles lined with Staffordshire tiles. The chancel's walls and reredos were built using Devonshire and other marbles and Bath stone. The centre of the reredos has a marble cross, surrounded by four Evangelistic emblems. It was obscured by wood panelling until the 1990s.
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Behind the altar is an oak reredos with fluted Corinthian columns having gilded capitals. In the central panel of the reredos is a painting of the Virgin and Child and other figures. The pews have wrought iron candle holders, and at the west end of the church are two box pews with brass gas lamps. The west gallery is supported by fluted pilasters with gilded capitals.
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The All Saints' chapel (at the eastern end of the church) was refurbished in 1911. In 1914 the high altar reredos with credence table, Bishop's stall and sedilia was erected, the work of A. L. Moore of London. The reredos is of carved oak with panels of opus sectile, showing adoring angels in the centre, with the Nativity to the left and the Resurrection to the right, with flanking portraits, two on either side, of the four Archangels - Michael, Gabriel, Raphael and Uriel. In 1927 a reredos was dedicated in the All Saints' Chapel, showing the Transfiguration, and signed by A. L. and C. E. Moore and dated 1924.
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The reredos with life size angels is by the Dublin artist Mary Redmond who is also noted for the statue of Fr Mathew on O'Connell Street.
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At the top is a pyramidal spire. The reredos (retablo) of the main altar, in gilded and polychrome wood, was executed by Damián Forment (1515–1518).
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The chancel screen is by Charles Hodgson Fowler from 1899. The reredos behind the altar displays a painted Adoration of the Magi, by Sir Ninian Comper.
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All Saints' Church, Reading – Interior Mosaic All Saints Church, Reading, Berkshire, has a Salviati glass mosaic reredos depicting the Last Supper, that was installed in 1866.
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The Reredos is heavily carved and was made in Oberammergau. It is dedicated to Mrs Julia Jane Hampson (d. 1904, wife of the vicar, Rev. William Hampson).
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The nave was rebuilt in 1728–31 and it was remodelled in 1877–79 by Ewan Christian. A reredos designed by John Douglas was added in 1892.
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It is in the Gothic style with a stone reredos of polished granite shafts and a demi-octagonal stone pulpit, an unusual feature in a Scottish church.
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This reredos is attached, to the front pillar of the Epistle side of the choir, the image is of alabaster, of 1514, work of Miguel de Aleas; the reredos, made in Plateresque style, is by Francisco de Baeza, the columns, which frames the avenerate half-dome, are also of the same material, ending with a frieze and a pediment, with the coat of arms of the Cathedral chapter.
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Internally there is a sedilia in the chancel, designed by Douglas. The stalls are carved with detail which is in "typical Douglas" style. The reredos and riddle posts, dating from 1934–35, were designed by Caroe and are elaborately carved. Depicted on the reredos are representations of the Supper at Emmaus and the Annunciation together with figures of Saint Kentigern, Saint Asaph, St Aidan and the Venerable Bede.
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In 1941 the interior was therefore reoriented. A new raised chancel floor was built in the west end, the west door was permanently closed and the reredos was placed immediately in front of it. All the internal fittings of the chancel were relocated, the positioning of the reredos right against the wall creating some extra space. There was a claim that the acoustics were improved but this is spurious.
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Heinz Chapel reredos In the spandrels of the great arches of the transept crossing, eight large shields represent the eight beatitudes given in the Sermon on the Mount.
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It was restored and reseated by James Piers St Aubyn in 1886-1891, with further internal alterations being made in 1896 when the Caen stone reredos was erected.
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It was installed in 1969, marking the bicentenary of Goronwy Owen's death. The reredos behind the altar is in memory of those who died during World War I.
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A large reredos of gilded oak with twelve Northumbrian saints and the Virgin fills the space below the east window. It is of 1936 by J. Harold Gibbons.
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Detail of the mausoleum of Fadrique de Portugal. The mausoleum of Fadrique de Portugal is Plateresque style and made by mandate of the aforementioned bishop under the design of Alonso de Covarrubias while the reredos of Wilgefortis was built, with the corner on the north part of the cathedral crossing, therefore it was made about 1520. The execution of the reredos was carried out by Francisco de Baeza and his collaborators Sebastián de Almonacid and Juan de Talavera, finalizing the project for the year 1539, date of the death of the bishop in Barcelona, from where he was transferred and buried in this place. The reredos consists of three bodies plus bench and attic with three streets.
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In this nave no chapel is built. The reredos from the main entrance are dedicated to St. Bartholomew or St. Cecilia, which is located next to the door to climb the bell tower. Altar with Baroque reredos by 1718, dedicated to Saint Anne; the altar of Saint Paschal Baylon, also Baroque, from the year 1691 is located in the wall corresponding to the choir. Next to the reredos dedicated to Our Lady of the Snows of 1718, is the sepulcher of Pedro García de la Cornudilla of 1462, the figure of the recumbent is five feet eight inches tall, his head is missing and he is very deteriorated the rest of the monument.
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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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The interior of the church is plain and plastered. The font dates from the 13th century. The reredos is dated 1889 and is constructed from Caen stone and marble.
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The reredos was made with dark encaustic tiles on the two sides with carved alabaster in the centre, and a super altar of polished serpentine. In the centre of the reredos, a large cross of Irish marble was inlaid. Interesting features include the carved base of the rood screen and the font of Catacleuse stone. The feast traditionally celebrated in the parish is held on the Sunday after the first Thursday in January.
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The gilded reredos The high altar, located under the tower crossing since 1960, is on a raised white marble floor. The gilded reredos, a reworking of the 15th- century rood screen presents the figures of twelve saints. To the left of the sanctuary is the long brass plaque listing the rectors of Great Berkhamsted from 1222 to the present day. Brass memorials on the walls commemorate Rev JW Cobb and his wife.
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The altar has a slab and six pillars, all made from granite. The reredos (1864) Views of Street's alterations have differed. On 21 October 1864, Building News reported that the restoration was nearing completion and was of "a very spirited character". It said that the new "handsome" arch showed the east window "to great advantage", with "other improvements" including a "handsome reredos" and an "exceedingly beautiful" pavement of marble, alabaster and Minton's encaustic tiles.
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Wooden painted reredos The principal feature of the sanctuary is a colourful painted wooden reredos dating from the 1870s. The church has an unusually wide centre aisle so that the troops attending services could march out four abreast. Each row of pews was built by various members of the military and has its own individual design. The pews at the front of the church have more ornately carved ends as they were intended for officers.
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In the Lady Chapel the font is carved with a depiction of the Nativity, and the reredos is a copy of Leonardo da Vinci's Last Supper. Over the north and south doors are paintings of Moses and Aaron. These were painted by Robert Cardinall, and formerly hung in a position flanking the reredos at the east end of the church. The lectern, pulpit and altar are Victorian, as is the stained glass.
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Date accessed: 9 March 2009 Further decoration marked the 1984 centenary. The reredos of Doric columns in yellow scagliola (2006) of the St Joseph chapel and a new altar and reredos of the Blessed Cardinal Newman (2010) are by Russell Taylor. The statue of Newman in cardinal's robes (1896) is by L. J. Chavalliaud in architectural setting by Thomas Garner. The church boasts magnificent vestments and altar plate, and houses an important library.
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Sir Charles Nicholson designed the gilded reredos, the organ case, and the side screen, between 1900 and 1910, and the rood beam in 1920, and also possibly the gates to the chapel. The reredos in the chapel, dating from 1897, was designed by Kempe, its figures being carved by Joseph Mayer of Oberammergau. The paintings of 1910 on the organ screen are by Gertrude Siddall. Robert Hilton designed the bishop's chair and a prayer board.
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The sanctuary contains trefoil blind arcading. The reredos is a sculpted relief depicting The Last Supper. The font and pulpit are octagonal. The wooden screens and stalls are dated 1900.
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Her first exhibited works were presented with The Society of Lady Artists in 1898. Other works include the war memorial at Beaumont College and the reredos at Our Lady, Ramsey.
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Interior Inside the church are six-bay arcades carried on quatrefoil piers. The roof is coffered. There are corporation stalls of 1850. The reredos and pulpit were designed by Paley.
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History from St-Mary-Star.e-sussex.sch.uk, retrieved 26 February 2016 In 1891, the reredos and altar of St Mary's Church were dedicated. The cost of the two came to £1,500.
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The Lady Chapel was added to the south of the chancel and some of the original reredos (thought to be by George Gilbert Scott) from the original high altar, installed there.
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During Father Barbour's time as rector, all three of the church altars were redone. A gift from a parishioner provided a carved-in-Italy colossal figure of the Ascending Christ, around which the distinguished liturgical artist Rhett Judice designed and executed a new reredos over the main altar. This was in the midst of the AIDS epidemic and it was felt a symbol of hope and resurrection was needed. Later Rhett Judice built a new reredos for the Lady Chapel, also of his own design, and, an altar and reredos for the Damien Chapel in the east porch of the church, centering on the figure of Christ the King, flanked by Saint Thomas the Apostle and Blessed Father Damien, the leper priest of Molokai.
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His name is connected with the—at the time well-known—Exeter reredos case. The dean and chapter erected in the cathedral, 1872–3, a stone reredos, on which were sculptured representations in bas-relief of the Ascension, the Transfiguration, and the Descent of the Holy Ghost, with some figures of angels. In accordance with a petition presented by William John Phillpotts, chancellor of the diocese, the bishop (Frederick Temple) on 7 January 1874 declared the reredos to be contrary to law and ordered its removal. After much litigation touching the bishop's jurisdiction in the matter, the structure was declared not illegal by the Judicial Committee of the Privy Council on 25 February 1875Law Reports, BULWER'S Admiralty and Ecclesiastical Reports, iv.
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The mosaics of St Paul's are a collection of 11 opus sectile works, lining the nave and in the reredos, produced by James Powell & Sons of Whitefriars, London. The earliest of these, in the reredos, were installed in 1903, a gift to the church from Sir George White following his daughter's wedding. The most recent is from the late 1920s. As such, these eleven mosaics cover virtually the whole period of opus sectile work by Powell's.
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The white walnut reredos behind the main altar is 20 feet wide and 45 feet tall. Carved by Allard Klooter in 1866 at a cost of $2,500, it was moved to St. Mary Church from another church in Cincinnati. As the church patroness, a statue of the Blessed Virgin Mary stands in the center of the reredos. It is flanked on the left by a statue of Saint Catherine of Alexandria, and on the right by Saint Boniface.
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He died at 9 Red Lion Square, London, on 11 January 1890. A reredos to his memory was erected in the chapel at St. Katharine's, 32 Queen Square, London, in March 1891.
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She exhibited her work across England between the years 1887 and 1912 in London, Manchester, Birmingham and Liverpool. Her reredos in the church of St Alban's, Bordesley features many species of birds.
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Image:St Michael, Camden Road - Stained glass window (geograph 3326205).jpg Image:St Michael, Camden Road - Pulpit (geograph 3326195).jpg Image:St Michael, Camden Road - Reredos (geograph 3326192).jpg Image:St Michael, Camden Road - Statue (geograph 3326190).
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The reredos is in stone with blind arcades, crockets, and images of faces. The pulpit is in a similar style. The church contains a pair of stained glass windows by Shrigley and Hunt.
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It was squared instead of remaining cruciform, with its high stained glass windows relocated. The reredos and altar rails were removed, while the tabernacle was re-located. The re-ordering remains somewhat controversial.
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The reredos designed and by Harold Rathbone at his Della Robbia Pottery, in Birkenhead. Ironwork, including the electric light fittings, was designed by Walter Gilbert, who also made copper panels for the lectern.
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At one time the current organ blocked the view of the altar, but the pipes have since been moved to behind the reredos and the console to the north side of the chancel.
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Albert Memorial – Exterior Mosaic The chapel at Fulham Palace includes a reredos by Salviati depicting the nativity. The Palace including the chapel is open for free daily, from 10.30 - 17.00 (10.30 - 16.00 winter).
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The reredos dates from 1885. The memorials to the World Wars have been designed to match the reredos; the inscriptions are on small tiles, separated by gold mosaic. The stained glass includes a window in the south aisle dated 1894 depicting Faith, Hope and Charity. In the south wall of the chancel is a window dating from about 1920 by Walter J. Pearce, and in the east of the south aisle is a window from about 1950 by T. F. Wilford.
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High Altar and Reredos The Lectern The great reredos filling the whole eastern wall, was entrusted to the Reverend Ernest Geldart apparently at his own request. The subject is The Worship of the Incarnate Son of God with Incense and Lights, his overwhelming Hispanic design was made in 1899–1900 but had to wait until 1913–14 for funds sufficient for its execution. During cleaning in the early 2000s glass was found embedded in it, presumably from the V1 blast in 1944.
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Glenn, J. (1989), The Reredos of St Wulfram's, Grantham – A Guide, 2nd Edition, Grantham, The Friends of St Wulfram's Church. The reredos A brass cross on the super-altar was designed by Arthur Blomfield in 1886. The medieval font from about 1496 has an ornate cover shaped like a church spire designed by Sir Walter Tapper in 1899 to celebrate the Diamond Jubilee of Queen Victoria. The cover's interior is decorated with carvings of Edward the Confessor, St Hugh and St Wulfram.
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The font at the front of the church dates from 1876. The pulpit is made from carved Caen stone and dates from the same period, as does the lectern. There is a portable Nave Altar used at most services, which is moved for weddings and funerals. The original reredos dating from 1878 was covered up - the current reredos was painted in 1924 and installed as a gift from the Choir in memory of the Fallen from Connah's Quay following the Great War.
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William Stride, writing at about the same time as Hardy, said that the "beautiful" Jacobean interior of the chapel had been "destroyed", and Oxford had "narrowly escaped other irreparable losses". Norwich said that the restoration was "good in individual details" but was "sadly damaging to its character and atmosphere". In contrast, Pevsner called the reredos "heavily gorgeous". One chaplain in the 20th century covered up the reredos with curtains, describing the brown and white marbling as looking like "corned beef".
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At the east end is a plain reredos with a cornice and a traceried canopy. Hanging from the chancel arch is a painted rood. At the east end of the aisle is an elaborately carved altar, and a reredos incorporating shafts of coloured stone, a central carved stone canopy, and an icon of the Virgin and Child. The only stained glass is in the east window, it dates from the mid to late 19th century, and is probably by Hardman.
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To the west of the chapel, behind the high altar, is a large reredos designed by Scott; this consists of a triptych containing paintings and carvings. The baptistry contains a central marble font, an altar with a reredos, and stained glass windows by Shrigley and Hunt. There is more stained glass by the same firm elsewhere in the cathedral, and other windows are by Hardman. Also in the church are monuments, one dating from about 1860 by Richard Westmacott, junior.
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The Gothic marble high altar and tabernacle, in front of a blue backing, includes a sculpted, reredos with statues. The altar was detached from the reredos and moved forward in the 1960s in the implementation of the liturgical reforms of the Second Vatican Council (the celebration of the Mass facing the congregation). This altar is fronted by a carved, Last Supper set under an incised arch along its width. The ornate columns in the sanctuary are topped by marble statues of angels.
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The carved reredos, placed within a shallow rounded apse, shares an unusual decorative feature with the reredos of the former St. Mary's in Dublin: Corinthian pilaster capitals with twin acanthus scrolls. The acanthus frieze is carved with winged angels and bishop's mitre; the segmental pediment, with festoons of flowers. The craftsman's name is unrecorded.The Knight of Glin and James Peill, Irish Furniture: Woodwork and Carving in Ireland from the Earliest Times to the Act of Union (Yale University Press, 2007), pp.
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The chapel renovations included the installation of an electric organ, expanded seating from around 30 to 72, an expanded sanctuary area, as well as a reredos. The reredos was custom designed for the seminary, to match the altar, which belonged to the late Bishop Chatard of Indianapolis. The building is distinctive for its combination of Medieval and Romanesque architecture. The building was built in 1932 for the Carmelite Sisters of Indianapolis, the building itself was acquired by the Archdiocese of Indianapolis in 2008.
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Upon his death, his ashes were interred in a niche within the chancel. The sanctuary features a wooden reredos carved by Gustave Baumann and an organ built by the M.P. Moller Pipe Organ Company.
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In 1873, a new high altar and reredos was added. It was designed by George Goldie. In 1898, the presbytery was built. The next year, in 1899, the schools on Foundry Street were rebuilt.
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The church's main focus is its chancel, which has ornately carved reredos of Caen stone and polished Languedoc marble, and a pulpit, altar and communion rail, all intricately designed in various kinds of marble.
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One of his projects, a marble and alabaster reredos, pulpit and baptismal font for the Church of St John the Baptist, Huntley, was particularly acclaimed and was exhibited at the Great Exhibition of 1862.
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A reredos was added after the 1907 restoration. The altar is formed from a table-tomb—the burial place of Edward Eldrington (or Elrington), the lord of the Preston Manor who died in 1515.
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The main altar has a reredos canvas by Pietro da Cortona of the Martyrdom of St. Lawrence (1646), while the first chapel on the left hosts the Madonna and Child with Saints (1626) by Domenichino.
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He also erected a new bishop's throne and a reredos, parts of which survives. He died in January or February 1496 and was buried in Llandaff Cathedral where his monumental effigy may still be seen.
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The reredos depicts the legend of St Alban. The stained glass in the west windows and in the windows in the north and south walls also depict saints. The parish registers go back to 1774.
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Alterations and additions were made to the church in 1870–72 by the Chester architect John Douglas, including an organ chamber and the reredos. The tower was replaced in 1888–90 by J. S. Crowther.
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Wide moulded reredos arch and gallery. Rear raked gallery with curved and panelled front; pews on both floors retained. Vestibule has glazed panels to partition and swing doors with quarry glazing incorporating Art Nouveau motifs.
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1948 - 1952 Fr A. Wolstenhulme 1952 - 1954 Fr J. Wright 1993 - 1997 Fr R. Miller 1997 - 2002 Fr T. R. H. Coyne St Mary & All Saints Palfrey Reredos which now are in St Stephen, Wolverhampton.
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In 1936 the Lancaster architect Henry Paley of Austin and Paley refitted the church with a new marble floor to the sanctuary, reredos, pulpit, stalls, chancel screen, and with the creation of an organ chamber.
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This includes the altar rails, the octagonal pulpit, the box pews, the reredos (screen behind the altar) in the Lady Chapel, and the font cover. The font itself is Perpendicular. The reredos in the chancel of 1866 was designed by the Manchester architect J. S. Crowther. The royal arms of Charles II are in the north aisle. During the 1852 restoration whitewash was removed from the walls, revealing the royal arms of Henry VII, and paintings which include one of The Blessed Virgin knighting St George.
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Plateresque reredos of Wilgefortis and Fadrique de Portugal. It was normal for the cathedrals of the Middle Ages to be placed under the protection of the relics of a martyr, and for that purpose the bishop Bernard of Agen brought to Sigüenza those of the martyr Wilgefortis, from the 4th century, from Aquitaine. The reredos is located at the northern end of the transept and was commissioned by the bishop Fadrique de Portugal. Executed as a large mausoleum in limestone, it is dedicated to Wilgefortis.
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Stained glass window in St Ultan's Church The building underwent periodic renovations. A new roof was added in 1897 while the wooden altar was replaced by a new set of marble altar, altar rails and reredos (all shown in the photograph above). A set of new stained glass windows were installed, notably a window of the crucifixion over the reredos and main altar. The church was clumsily re-ordered in the aftermath of Vatican II. In the mid-1980s a complete rebuild of the church was undertaken.
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Reredos-like facade of the monastery church The facade comprises the front of the church and the adjacent monastery portico. The front the church is one of the finest examples of the Plateresque style. It is conceived as an external reredos, in the form of a triumphal arch under whose barrel vault unfolds the abundant decoration characteristic of this style. The martyrdom of St. Stephen is featured in the tympanum, with a calvary above, both reliefs executed by Juan Antonio Ceroni in the early 17th century.
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The altar is wide, and the church has a small reredos with statues of Jesus and the Blessed Virgin Mary. The spire was completed in 1905 by architect Arthur W. Holmes, a former assistant of Connelly.
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The arcades are supported by octagonal piers. At the east end of the north aisle is a flying buttress. Most of the furnishings were designed by the architects. The reredos has alabaster panels surrounded by sandstone.
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The sanctuary features an oak reredos and panelling designed by Herbert Wardell, as well as two life- sized carved statues of the Virgin Mary and St. John the Evangelist, which were made by Koffmefer of Munich.
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Inside the church is a west gallery. The nave has a waggon roof, and four-bay arcades carried on round columns. The chancel arcade has two bays with clustered columns. The reredos is in wrought iron.
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The church was designated as a Grade II listed building in 1975. The church has a triple-gabled reredos, an octagonal Victorian baptismal font and much stained glass of various ages (the most recent from 1981).
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The hammerbeam roof of 1774 survived the restoration, but all the old fittings and furniture were disposed of, except for the octagonal font. The parish registers begin in 1631. The reredos was designed by John Douglas.
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Behind the altar is a carved alabaster reredos. The stained glass in the window above is by Heaton, Butler and Bayne. Flanking the windows are boards with the Ten Commandments, the Creed and the Lord's Prayer.
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The Last Supper forms the south arm of a Greek Cross. The Reredos itself provides the east, west and north arms. The center of the cross is the bronze relief of the Nativity and the Crucifixion.
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The reredos, rood and altar rail were made by the artist Martin Travers in the 1930s under the patronage of the banking heir and publisher, Samuel Gurney, who lived at the time in the Old Rectory.
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That work was designed by Brooks and Borg Architects of Des Moines. The Rambusch Company redecorated the chancel in the 1940s and the current reredos was added at that time. In 1950 the parish's rector, the Rev.
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Phyllis ("Pog") Yglesias made the north wall's crucifix and nearby is Roger Fry's reredos. 12-year-old Joan Manning Saunders made the painted pictures for a chancel screen.Melissa Hardie. 100 Years in Newlyn: Diary of a Gallery.
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It was a single space, undivided by columns, with a vaulted ceiling. There was a small gallery at the west end. The east wall above the reredos was painted in imitation of a crimson and gold curtain.
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Inside the church, the high altar and reredos date from 1865, and were probably designed by E. W. Pugin. They were separated in 1948–50 by Weightman and Bullen, who placed the reredos against the east wall. The stained glass in the east window dates from 1878, and is a typical design by the Belgian stained glass painter Jean-Baptiste Capronnier. The two-manual pipe organ was built by Franklin Lloyd in 1895, and is situated in a gallery on the north wall of the church at the west end.
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A defining factor in the preservation of the mural over the centuries is the mural's situation in a dark, cramped space behind the historic reredos. The mural is situated on a wall about two feet behind the reredos. It is only partially visible from an oblique angle through a trap door that opens from the attic above. Certain areas of the mural have deteriorated over time, particularly a section at the top of the mural that has been severely abraded, possibly when an electrical cable was installed in front of the mural.
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Gothic reredos of Saint John and Saint Catherine. This reredos is found on the crossing, next to the chapel of Doncel and comes from the sacristy of the aforementioned chapel. It consists of several of the tables made around 1440, commissioned by the la Cerda family. The tables are painted in an Italianate Gothic style and in the central table the Crucifixion is represented while in the others they are scenes of the life of Saint John and Saint Catherine, the predella is also preserved where they observe various painted images of the prophets.
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The original Jacobean woodwork was removed, with the exception of the screen donated by Edwards and the pulpit, new seats were installed and new paving was placed in the main part of the chapel. A stone reredos was added behind the altar, although the design originally submitted by Street was not approved and he was asked to make changes.Hardy, p. 233 The reredos as finally installed has three marble panels: a crucifixion scene (centre), Christ carrying his cross (right) and Christ on the knees of St Mary (left).
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There were also the altar cloth of white silk, four great latten candlesticks, a timber reredos with imagery, other lamps, an image of Our Lady, two cruets and an older Mass-book. The Lady Chapel had an alabaster reredos. In the vestry were five copes, one of crimson velvet with baudekin (a luxurious cloth), one of gold baudekin, one of violet silk, one of green silk with birds of copper gold, and one of blue with angels and stars. There were various other rich altar cloths and vestments.
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In October 1968 the upper south transept windows which looked out from the Minister's Study and those in the study were destroyed by a fire. Chancel and Reredos Another project by Willet Studios is the reredos which towers forty feet behind the altar. The three windows at the top: the center is the “Lord enthroned in glory,” the left, in a blue robe with a starry nimbus, is Mary, and on the right in red garments is John. Below are three murals, painted by Jean J. Myall, depicting St. Gabriel, St. Michael, and St. Raphael.
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The Caen stone reredos erected in 1877 has alabaster carvings, representing the Magi, crucifixion and Old Testament figures. John Wormald Appleyard was present at the consecration on 24 August 1877, listed alongside the architects Henry Walker and Joseph Athron who designed the building and reredos. Since no other stone carver is credited for this work, it is reasonable to suppose that it could be the work of Appleyard. The pulpit is of alabaster and marble, designed by architect Thomas Armfield after the pulpit at the shrine of Sebaldus in St. Sebaldus Church, Nuremberg.
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One of Annie's works for the church was a Joan of Arc painting that was placed just inside the south door of the church. Ernest Procter made a work that depicts St Mawes, St Kevin and St Neot for the pulpit and a reredos of the Altar of the Dead. Annie, Dod and Ernest Procter, Gladys Hynes, Alethea and Norman Garstin and Harold Knight all made paintings for the sides of the stalls in the church. Pog Yglesias made the north wall's crucifix and nearby is Roger Fry's reredos.
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Installed high on the facade of a parking garage, the piece is now located at ground level on the Columbus Ave. bridge and the Chicago River Walk. :1954–56 Worked on "History of Medicine", four monumental relief pylons, at the West Virginia University Medical Center in Morgantown, West Virginia. :1957 Awarded Citation of Honor by the American Institute of Architects Centennial Conference, Washington, DC. :1957 "Ark-Reredos" in Silling Chapel at the West Virginia University Medical Center (Reredos): wall behind the altar, serving also as the Torah ark.
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This suggestion was aligned with Barker's advocacy of synodical government. The building was designed by the Blacket Brothers and was opened by Lord Carrington and used for the first time at the general synod in October 1886. In the meantime, St Andrew's Cathedral School was established in 1885 to provide choristers to sing at daily services, a strong tradition that has continued. During 1884, J. Pearson was commissioned to prepare designs for the reredos. Work was finally completed in November 1888 following delays with approval of design, carving and erection of the reredos.
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The reredos and the pulpit are decorated with carving. In the seven-light east window is stained glass dated 1901. The two-manual organ was built in 1887 by Wadsworth, and extended in 1957 by J. W. Walker.
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Western end of the church The church has timber pews, stained glass and gargoyles. There is a carved stone altar and reredos. The church also contains a painting depicting E. W. Pugin with a plan of the church.
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The lectern was manufactured by Jones and Willis. The Dowager Lady Sitwell provided a brass cross for the reredos. The church reopened on 19 June 1878. The church was remodelled and refurnished by Percy Heylyn Currey in 1907.
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Wagon roofs cover the nave and the chancel. The reredos is of marble. The oak benches are carved with poppyheads. The stained glass in the west window probably dates from the 1850s, and is probably by David Evans.
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Formerly a cupola was on the west end but this has been removed. The box pews, including two family pews, are original. The font is based on a marble wash bowl. The wooden reredos dates from around 1872.
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The pulpit and lectern are in oak. To the north of the chancel is a sedilia. The east window is probably also by Frampton. The reredos was designed by Frederic Shields and made in cloisonné by Clement Heaton.
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The reredos contains a fresco of the Last Supper. The pulpit is in stone with dark marble shafts. The font is decorated with the symbols of the Evangelists. The furnishings in the choir are elaborately carved, including poppyheads.
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The reredos was dedicated in 1919 and contains carvings of Christ on the Cross, Mary and John, and the four national saints, Saints George, Andrew, Patrick and David. The canopies above them echo those of the choir stalls.
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Inside the church are four-bay arcades. Many of the fittings are in rich Arts and Crafts style. The reredos was designed by G. F. Bodley. It is in gilded oak and takes the form of a triptych.
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Inside the church are arcades with pointed arches in Early English style. Between the chancel and the chapel is an arcaded wooden screen. The chapel is floored with Minton encaustic tiles. The carved wooden reredos depicts the Last Supper.
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It has a hammerbeam ceiling with a curved rafter roof with colonettes, plaster walls, and stained glass in every window from a range of periods. The reredos and pulpit are distinctive cedar carvings by the early rector F. Wilkinson.
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There are also 15th-century benches in the nave. The south porch was added in the 16th century and is built of brick. The altar rails and reredos are 17th-century. The church is a Grade I listed building.
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The nave and chancels have barrel roofs. On the south side of the chancel is sedilia. The reredos contains a carving of the Crucifixion. The font is marble, and the pulpit is built of oak on a stone base.
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Later in the 19th century a restoration was carried out between 1857 and 1866 by S. S. Teulon. This included work on the west front, the bellcote, the porch, the priest's doorway, the roofs, the pulpit and the reredos.
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The reredos is made of panelled oak. Also in oak are the pulpit, the organ case and the lectern. The octagonal font is in stone. On the nave walls are memorials in alabaster to former vicars of the church.
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In 1666, at the request of Bishop Andrés Bravo de Salamanca, he entrusted Juan de Lobera and Pedro Miranda with the realization of the great Baroque reredos to place the image of Santa María de la Mayor, of whom the bishop was very devoted. The reredos is made up of six large salomonic columns of black marble brought from Calatorao, other four slightly smaller columns are red marble from Cehegín and also the white marble from Fuentes de Jiloca. In a niche placed in the central part of the reredos is the image of Santa María de la Mayor, patron saint of Sigüenza. The sculpture of Santa María, is a Romanesque sculpture image of the 12th century, it is believed that it was an offering of the bishop Bernard of Agen, and it was the image that accompanied him in his reconquests for the territories of the bishopric.
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The non- English word "retable" therefore often refers to what should in English be called a reredos. The situation is further complicated by the frequent modern addition of free-standing altars in front of the old integrated altar, to allow the celebrant to face the congregation, or be closer to it. Dossal' is another term that may overlap with both retable and reredos; today it usually means an altarpiece painting rising at the back of the altar to which it is attached, or a cloth usually hanging on the wall directly behind the altar. The cognate Spanish term, retablo, refers also to a reredos or retrotabulum, although in the specific context of Mexican folk art it may refer to any two- dimensional depiction (usually a framed painting) of a saint or other Christian religious figure, as contrasted with a bulto, a three-dimensional statue of same.
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Wooden panels lining each side of the sanctuary feature high-relief statues of the twelve apostles. The reredos and sanctuary area cost $25,000. The sanctuary parquet floor, installed in 1892, depicts inlaid vines and leaves and other magnificent floral patterns.
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The octagonal font dates from the 15th century. In the nave floor are three brasses with dates in the late 15th and early 16th centuries. The reredos contains Flemish panels, and in the church is a bust dating from 1780.
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The Willoughby pew, bearing its original brass name plate on the south wall of the chapel has been preserved and is noted for its large ornate canopy with panelled reredos and a moulded and carved cornice in the classical style.
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The reredos is divided into 19 fields. The first nine fields show the childhood of Jesus. The tenth field is much larger than the others and shows the crucifixion of Jesus. The last nine fields show the Story of the Passion.
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In 1885 a reredos by Peter Paul Pugin was installed. Later, in memory of the Clapperton family, two stained glass windows designed by the acclaimed Franz Mayer & Co. were fitted, one with a paschal theme and one with a Marian theme.
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The reredos, given in 1937 in memory of William Bradley and his wife Elizabeth, was designed by Sir Ninian Comper. The church was designated a Grade I listed building, being of outstanding architectural or historic interest, on 29 September 1950.
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The elaborately carved baroque reredos is older (late 18th century), and comes from the monastery of Lesbos. The settlement grew steadily until the 1960s. In 1928 it had 518 inhabitants, in 1961 578. In the 1970s a gradual decline began.
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The lectern was given by Mrs. R. Jefferson in memory of her parents, Mr. and Mrs. Redfern of Etwall. The oak reredos, choir and clergy stalls, and two oak screens which formed the clergy vestry were designed and executed by Messrs.
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It has an altar and north and south transepts, each with side porches. Inside the church are a number of wood carvings features. Eugenie Shonnard carved 20-foot reredos of seven saints. Archways to the transepts "rough hewn wood carvings".
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Moore designed the High Altar reredos, installed in 1898. A fire on 22 December 1961 destroyed many of the interior fittings, including the Snetzler organ. Surviving elements include the south transept screen from 1500, the Norman font and a Jacobean pulpit.
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A three-seat sedilia and adjacent piscina, both with ogee-shaped heads, remain in the south wall, and there is a reredos with a carving of the Last Supper. An ogee- panelled porch and an octagonal font with carvings also survive.
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The reredos is designed by John Oldrid Scott and sculpted by Mary Grant.Dictionary of British Sculptors The critic Sacheverell Sitwell condemned the design as "peerless for ugliness, unless it be for its own sister, Scott's chapel of St John's, at Cambridge".
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The chancel window was gifted and painted by Mrs. Miles of Bingham Rectory. The tesselated pavement and stonework was supplied by Mr. Brinson of Curry Mallet. The church retains many of its original fittings including the pews, reredos, pulpit and lectern.
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Some of the choir stalls have elaborately carved crocketed canopies containing statues. The reredos dates from the 20th century, and contains statues of the Four Evangelists. The font is hexagonal. In the church are memorials to members of the Brooks family.
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The furnishings are nearly all late 19th or early 20th-century, influenced by the Oxford Movement, with a carved rood screen in late medieval style. The south chapel has a reredos by Sir Ninian Comper with a central crucifixion group.
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Inside the church are five-bay arcades carried on cylindrical columns. The capitals are alternately ring moulded and foliated. There is an oak reredos in the chancel, and another in the south transept. The pulpit is octagonal and in stone.
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Sir Walter Tapper The reredos, designed by Arthur Blomfield, who submitted drawings in 1881, was constructed in 1883/84 by Heaton, Butler and Bayne of London and dedicated to Canon G. Body; it was painted by Charles Floyce, a later partner of Charles Edgar Buckeridge. The cost of reredos and east window, some £1,800, was paid for by subscription. In 1901/02 four of its 19 panels were raised and seven new panels added. It was mounted in a wide elaborately-carved frame and moved forward from the east window onto a green and white marble plinth.
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The large reredos, hung in the sanctuary, is also the work of French. The ornamental beauty and shimmering luminosity of the textural surface of French’s paintings create a richness of meaning and visual impact. His emblematic use of recognisable iconographic symbols – including the Celtic Cross, circle, dome, serpent, bird and fish – together with a rich layering of paint and glazing, coalesce to form complex works of art of great depth and beauty. The Haileybury Chapel reredos exhibits French at his finest, and is one of the artistic highlights of the Chapel interior paying homage to French's unique reinterpretation of Mexican muralism.
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North chapel Turnor reredos memorial Beneath the window on the east wall of the north chapel is an 1896 "fine memorial" sepulchral reredos to Christopher Turnor (1809–1886) and his wife Lady Caroline (Finch-Hatton), designed by Turnor himself. Christopher Turnor undertook the rebuilding of Stoke Rochford Hall in 1846, was an MP for South Lincolnshire, and was a designer and provider of Lincolnshire farm complexes. Lady Caroline was the daughter of George Finch- Hatton, 10th Earl of Winchilsea.Massue, Melville Henry, Marquis of Ruvigny and Raineval (1911); The Plantagenet Roll of the Blood Royal: The Mortimer-Percy Volume, pp.
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The north transept (St Catherine's Chapel) has the remains of its 13th century reredos on the east wall, which was rediscovered in 1848. The south transept which is otherwise known as The Lady Chapel has another stone reredos dating from 1470, based on the Tree of Jesse theme. Until 1561 the church had a central tower which either collapsed or was removed, as a result of alterations to the structure and decoration of the church in line with the changes in theological and liturgical practice during the Protestant Reformation. It has been replaced with the current tower over the west door.
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An altarpiece by Carl Timoleon von Neff at the Helsinki Cathedral The usage and treatment of altarpieces were never formalised by the Catholic Church, and therefore their appearance can vary significantly. Occasionally, the demarcation between what constitutes the altarpiece and what constitutes other forms of decoration can be unclear. Altarpieces can still broadly be divided into two types, the reredos, which signifies a large and often complex wooden or stone altarpiece, and the retable, an altarpiece with panels either painted or with reliefs. Retables are placed directly on the altar or on a surface behind it; a reredos typically rises from the floor.
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One of these is separated from the body of the church by a canopied screen of great richness carved in wood, dedicated to people from the parish killed in the First World War. The church is dominated by a stone reredos carved by Nathaniel Hitch and installed in 1908. Pearson used a clever conceit in the design of the church to produce a visual concentration on the reredos, and the east end of the church was described by the architect Harry Stuart Goodhart-Rendel "as nearly perfect as can be". Nikolaus Pevsner described the building as "superb and cathedral-like".
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347 Alabaster is used in the font, the low screen separating the chancel from the nave, the reredos and pulpit. The pews with seating for about one hundred people and the choir stalls are carved from walnut.page 35-36, The Chapel & Courtyard Eaton Hall Chester, Paula Bailey- Thomas & Eileen Simpson, 2013, The Duke of Westminster The reredos was designed by William Morris and installed in 1893.Bailey-Thomas & Simpson, p. 48 Housed above the vestry that connects the Chapel to the clock tower, is the organ of 1881, designed by Charles Whiteley & Co.Bailey-Thomas & Simpson, p.
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It was accepted by the Friars Minor Capuchin of Great Britain as their mother house and opened in 1852. The church was designed by T H Wyatt and modified, to make it more specifically suited to Catholic use, by Augustus Pugin, who designed the high altar, the pulpit, the baptismal font, the reredos in the Lady Chapel and a statue of the Madonna and Child. The altar, reredos and statue had been exhibited in the 'Mediaeval Court' at the Great Exhibition of 1851. The pulpit was removed and destroyed during a post-Vatican II re-ordering in the 1960s.
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Cristo Rey Church () is a Roman Catholic parish church on Canyon Road in Santa Fe, New Mexico. It is one of the most notable buildings designed by influential Santa Fe architect John Gaw Meem and is claimed by some sources to be the largest adobe building in the United States. It is also notable for its historic altar screen, the Reredos of Our Lady of Light, which is listed on the National Register of Historic Places. The reredos was carved in 1761 and originally hung in La Castrense, a military chapel on the Santa Fe Plaza.
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The seating is arranged along the sides in the style of a college chapel. The reredos is in Renaissance style, and is in three parts. The centre is flanked by fluted Corinthian columns. The sides are canted with similar columns and with pediments.
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It is carved with foliage and a roundel with Christ teaching his apostles. The elm lectern of 1929 is also by Phillips, and represents an angel with a trumpet. The reredos of 1882 was designed by R. H. Carpenter and carved by Earp.
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Inside are effigies and tombs of Henry Ley (d. 1574) and his two sons, and an early 19th-century reredos. Sir Walter Raleigh mentions the church of "Tevont Evias" in his Discoverie of Guiana (1596), in connection with the Ley family.Joyce Lorimer, ed.
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At the west end is a baptistry with an octagonal font. The reredos is in stone with polished granite columns. The wrought iron screen is dated 1913. The stained glass in the east window, dating from 1880, is by Clayton and Bell.
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The chancel has a polygonal apse, which is rare for the late Gothic period. The church tower, although also from this period, was restored in the middle of the 19th century. The reredos, which depicts the Last Supper, is also 19th century.
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The roofs of the nave, transepts and chancel were replaced. The chancel roof was embellished with carving from timber taken from the church at Phillack, which had been restored 10 years before. The reredos was painted by John Sedding, brother of the architect.
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The other three windows are by Lavers and Westlake of London. The chancel is divided from the organ chamber by a pointed arch on carved stone corbels. A similar arch divides the organ chamber from the south aisle. The oak reredos, c.
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The reredos is made from marble. The altar and pulpit are oak, the latter being on a stone base. The choir stalls are carved with poppyheads. At the west end of the church is a wooden gallery on round cast iron columns.
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The choir stalls, reredos and pulpit were of carved oak by Foster and Cooper. A new font of carved Hollington stone, with alabaster shafts, was presented in memory of Miss Welby. A new church hall was built in 1970 by Eberlin & Partners.
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The interior contains hammered ceiling beams and hand carved figures of the four Evangelists on the reredos. The church also contains four Tiffany stained glass windows; the west window, featuring the apostles, is the third largest stained glass window in the state.
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The style is Irish pointed. The building is 46 metres (150 feet) long, and the transepts 23 metres (75 feet) wide. The oak reredos is taken from St. Columb's Cathedral Church, Derry. The chancel chairs were presented by The 5th Marquess of Sligo.
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The St. Michael's church choir sit on the right side of the altar. Behind the altar is a large “semi- circular oak reredos with one large episcopal chair of the Archbishop and six smaller chairs on either side for members of the clergy.
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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.
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Closeup of church exterior St. James Episcopal Church's oak altar and reredos were carved by Silas McBee, depicting the Nativity, Crucifixion, and Resurrection of Jesus. McBee also designed the Bishop's chair and two of the stained glass windows, including The Resurrection of Christ.
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A reredos is an altar screen which holds multiple portraits of saints. They have both decorative and practical purposes: while luxurious, they have the effect of drawing an observer's eye towards the most important—but often blandest—feature of the church, the altar.
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Internally, the tower measures by . The nave measures by and is accessed from the tower through a high arch with chamfered orders. There is a 19th-century reredos, now in the tower, that depicts the Annunciation. There is 17th-century octagonal baptismal font.
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Antependium can also be used to describe the front of the altar itself, especially if it is elaborately carved or gilded. The famous Pala d'Oro in St. Mark's Basilica in Venice originated as an antependium, although it is used as a reredos now.
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The nave has four-bay arcades, a lofty tower arch, a square font on pillars with stiff-leaf carving, a round stone pulpit and an intricate wrought iron lectern. The chancel is sumptuously appointed with a mosaic floor, sedilia and reredos with arcading.
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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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From 1904 to 1905 the Emmanuel Chapel and the cenotaph of Bishop Neely were built. The chapel was designed by Stephen Russell Hurd Codman. The Incarnation Reredos, high altar, silver cross and candlesticks were added in 1925. In 1928 the Skinner pipe organ was built.
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The interior of the church is in ashlar stone, the walls of the tower and chancel being diapered. The arcades are carried on polished limestone monolithic columns. Both the pulpit and the font are in marble. The reredos contains five panels of mosaics by Salviati.
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Behind the altar is an ornate reredos composed of encaustic tiles. The altar rail, the octagonal font, and the polygonal pulpit all date from the 19th century. There is a monument under the west window dated 1860. The windows contain richly coloured stained glass.
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Dedicated on 22 July 1964 by the chaplain general, the reredos is the property of St. George's Garrison Church and the chaplain general. If no garrison church is built in the future, it will become the property of the Royal Army Chaplains Department Depot.
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The interior contains woodwork installed by A.E. Eastwood, of Leigh Court, in Pitminster, who was the Lord of the Manor, and a local woodwork class in the early 20th century. The reredos was designed by Frederick Bligh Bond. The circular stone font is Norman.
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In the next decade attention turned to the north aisle. A small chapel was created, with an altar table, reredos, altar rails and with stainless steel fittings. The new chapel was consecrated in 1967. St Luke's Chapel in the west porch was dedicated in 1990.
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The nave arcades are carried on octagonal piers. At the west end of the church is a gallery that dates from 1765. The chancel is floored with encaustic tiles, whose design is copied from the original medieval tiles. The alabaster reredos has arcades containing mosaics.
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A reredos can be made of stone, wood, metal, ivory, or a combination of materials. The images may be painted, carved, gilded, composed of mosaics, and/or embedded with niches for statues. Sometimes a tapestry or another fabric such as silk or velvet is used.
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A wooden communion rail separates the sanctuary from the nave. The reredos, pulpit, and lectern were constructed by a member of the parish, Clem Goodman. The pews are original. Also surviving is the original church bell, located outside the structure and to its east.
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The reredos contains six niches containing statues of angels. In the east wall are two piscinas. The chapel contains a number of memorials to the Phillips family. In the south window is stained glass by Hardman & Co., currently removed for safe-keeping pending restoration.
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The work did not stop there. In 1940 the interior was again redecorated. The sanctuary was repainted, a dark red oak reredos installed in the chancel, and the choir loft widened. On the outside the walls were sandblasted, the towers widened and the roof redone.
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The framing of the ceiling, as well as the altar reredos, are made from Narra (Pterocarpus indices), wood donated by Brother Edward Tan, an avid sympathizer of the Church. The pulpit, lectern, pews and transept balconies have richly-carved woodwork with the same theme.
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The life size images of Moses and Aaron flanking the Decalogue on the reredos are now in St Michael Paternoster Royal, which also received the lectern (now stolen) and the chandelier. The former pulpit of All-Hallows-the-Great is now in St. Paul's Hammersmith.
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Inside the church, all the roofs are medieval. In the southwest corner of the chancel is a window with a piscina in its sill. The reredos was constructed in about 1820, re-using 17th- century panelling. The font is octagonal and Perpendicular in style.
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One is built from ancient stones found during the excavation carried out before the church was rebuilt. The other is octagonal, standing on three steps. The reredos consists of a rectangular wooden panel painted in gesso and coloured with tempera. Its frame is elaborately carved.
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In the north wall of the chancel is a sedilia, and in the south wall is a piscina. The carved reredos of 1903 depicts the Last Supper. The choir stalls, pulpit and organ screen, all dated 1907, are panelled. These were designed by Percy Worthington.
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The reredos was installed in 1874. In the 1970s, the interior was re-ordered. The south aisle and west end of the nave were partitioned off and cleared. A baptistry was installed in the floor of the crossing, and the nave floors were raised.
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The arcade consists of pointed arches carried on round columns with capitals. At the west end is a gallery. The nave has an open timber roof, and the chancel a barrel roof. The large reredos is in Caen stone, and is decorated with arcading.
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The arcade was of three arches, the reredos of carved stone and encaustic tile, and the pulpit of Caen stone. The parish registers dated from 1561, and included those of Claxby Pluckacre. The living was a rectory and of glebe land at Wildmoor Fen.
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From 1951 to 1973, Dykes Bower was the official Surveyor of the Fabric of Westminster Abbey; in charge of restoring, repairing, and maintaining the interior. Restoration work included the tombs, Pearson- designed organ cases, Blore-designed pulpitum, choir stalls, Scott-designed reredos, vestments, ornaments etc.
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Allfrey (1909). p. 30. In 1819 the interior of the chapel was very extensively overhauled and done up, £201 being spent on cleaning and painting the ceiling and walls, and staining and twice varnishing the oak. The capitals of the reredos were re- gilt.
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Additions were made in the 1880s including an ornate Italian marble and mosaic reredos, paving in the choir and sanctuary, carved choir stalls by R. Knill Freeman and a vestry when choral services were introduced. In 1894 a lectern designed by John Douglas was installed.
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Edward Burne-Jones, one of the leading stained glass artists of the late nineteenth century designed the stained glass window which was installed in the east wall using glass manufactured in London. Across the rear of the nave the decorative screen created a baptistery and vestry. By 1910 the rood screen had been erected and the present altar installed and enhanced with a reredos. Some years later the reredos was augmented with panelling across the east wall and the remaining two windows in the side walls filled with stained glass, a memorial to the men from the parish who'd given their lives in World War I. Electricity was connected in 1928.
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Read, Benedict, Victorian Sculpture, Yale University Press, New Haven, 1983, p. 308 and 352 In 1887 the firm employed Furio and Attilio Piccirilli who had recently migrated from Italy to work on the reredos and altar then being carved for St. Paul's Cathedral.Lombardo, Josef Vincent, Atilio Piccirilli: Life of an American Sculptor, Pitman Publishing Corporation, New York 1944 (These same Piccirillis became among the most notable fine stonecarvers in turn-of-the-century New York City.) According to Ward-Jackson, the St. Paul's reredos had been designed by Bodley and Garner and were to be the firm's magnum opus, but they met a hostile reception and were removed.
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Roundel in east window The east window by William Wailes represents the Parable of the Good Samaritan; it cost £100 and was funded in 1870 by the local inhabitants in memory of Thomas Brooke, father of the 1869–1870 fund-raising treasurer Colonel Brooke. Rev. Richard Collins stated at the 1870 consecration that the theme of Good Samaritan and the word "just" in the window's dedication referred to Thomas Brooke's good deeds. The reredos was installed in the 1920s, and on its bottom right hand skirting board there is a wooden plaque commemorating its presentation.See image of reredos at: :File:St Thomas Thurstonland interior 036.
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Image of Wilgefortis, in the second body of the main reredos. The reredos for the Main chapel was commissioned by the Franciscan bishop Fray Mateo de Burgos to the sculptors Pompeo Leoni and Giraldo de Merlo, who signed the contract for its execution on September 24 of 1608. On the occasion of the death that same year of Pompeo Leoni, Giraldo de Merlo took charge of its realization. The traces were made, according to the desire of the bishop, occupying the maximum possible space but leaving free the upper part where they had to place some stained glasses, also donated by the same bishop.
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Wagner's mother, father and aunt are all commemorated in the designs, along with some important members of Brighton's Anglican community and other figures. Alterations in 1861 included the construction of a narthex at the western end, additions to the rood screen between the chancel and the nave, and a reredos designed by Edward Burne-Jones, whose career as an artist was just beginning at this time. The reredos was designed as a triptych; in its central panel, depicting the Adoration of the Magi scene, one of the Magi is a representation of William Morris, the artist, writer and socialist activist: Morris and Burne-Jones were friends and artistic collaborators.
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All Souls' Chapel was originally conceived as a memorial to Father George Hodgson, the first "priest-incumbent" of St. Peter's Cathedral, and was built in 1888 to plans prepared by William Critchlow Harris, ARCA (1854-1913), a member of the first class confirmed in St Peter's Church in 1869. The arched reredos, with statues of apostles and evangelists occupying the niches, is typical of Harris's altar screens. The Chapel walls are occupied by 16 paintings by William's brother, Robert Harris, CMG, PRCA (1849 - 1919). The round painting above the reredos is of Christ ascending to Heaven, and has been a treasured icon to generations of Cathedral parishioners.
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An anonymous painting of this interior is still in the possession of the parish. In 1903, the chancel was renovated to a brighter appearance, in accordance with the tastes of the period. The reredos was moved to the back of the church (where it still stands as a memorial wall), and a new Tiffany reredos was installed with a completely new design for the east wall, including a large chancel window by Helen Maitland Armstrong was installed above the altar, with the St. Paul window moved to the south aisle. The ochres of the 1850s gave way to white faux blocks etched into the nave.
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Inside the church are four-bay arcades carried on octagonal piers. In the south aisle is a trefoil-headed piscina. The tub-shaped font is early Norman in style. The stone reredos dates from 1899, was designed by Bodley and Garner, and depicts the Crucifixion and saints.
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In the left aisle, a replica of the former main reredos which existed before the construction of the current can be found. Part of the original is located in the Antwerp museum, where it arrived after being sold in the 19th century. Its author was Hans Memling.
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To the west of the church is the baptistery which contains a marble font with an oak crocketted cover. The reredos is painted in the style of an icon. The pulpit is of oak. On the walls are alabaster memorials and timber Stations of the Cross.
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The reredos is in oak and has a frieze with a grapevine motif. The carved communion rail is in Gothic style. The nave walls have wainscotting to a dado height. The organ was built in 1900 in Steele and Keay, and rebuilt in 1967 by Reeves.
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On 12 May 1896, the present church was opened by the Archbishop of Southwark, Francis Bourne. In 1903, he became Archbishop of Westminster and cardinal in 1911. The architect is unknown. The high altar and reredos were crafted by a Belgian craftsperson and donated by Louis Brennan.
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Built between 1220 and 1420, Southwark Cathedral had its nave demolished and rebuilt in the late 19th century by Arthur Blomfield. It has a fine Early English tower and choir which retains an elaborate 16th-century reredos, fitted with statues replacing those destroyed in the 17th century.
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Lakbay Pinas The Santa Monica Church measures long, wide and high. Twin towers flank the façade of the church. It has a transept and some very beautiful reredos. The peeled palitada (outer layer) reveals the original red brick walls, giving the church its unique old-rose touches.
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Inside the church is a carved and gilded reredos and a stone pulpit. The east window contains stained glass by Shrigley and Hunt. The two-manual pipe organ was made in 1988 by Sixsmith, replacing an earlier organ by T. and C. Lane dating from about 1880.
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The interior of the church is noted for the 1925 reredos of Christ's Resurrection and Ascension which was done by Dutch artist Jan Van Emple. The church was added to the National Register of Historic Places in 1979. St. Peter's is still an active Episcopal parish.
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The font The interior is in Stourton stone with a Yorkshire stone floor. The nave has a hammerbeam roof. The arcades are carried on clustered piers. The former intricately carved chancel screen now acts as a reredos behind the altar at the east end of the nave.
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In the chancel is a 13th-century double piscina, and a square aumbry. The reredos stretches the full width of the church, and contains encaustic tiles depicting the apostles. The pulpit is in Jacobean style, and contains crude carvings of mermen. The stone font dates from 1868.
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At the west end is a gallery. Two steps lead up from the nave to the chancel, which has a barrel ceiling. At the east end is an oak reredos dating from 1890. The font is probably Tudor and it was damaged during the Civil War.
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Inside the church the five-bay arcade is carried on round stone piers. A frieze runs along the top of the arcade. Other than the stone piers, the rest of the interior is in brick. The alabaster reredos, and the wrought iron lectern were designed by Deacon.
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Between the nave and the aisle are five-bay arcades carried on elliptical piers. On the north side of the chancel is a two-bay arcade. In the south wall of the chancel are a sedilia and a piscina. The reredos and chancel screen date from 1926.
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On Wednesday 16 April 1941, Bromley suffered a violent air raid attack. This started in the evening and went on into the early hours. A local report says: Some of the salvaged articles were taken to St Mark's Church Hall. The reredos was protected by tarpaulins.
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Sydney Cathedral and Adelaide Cathedral both contain > sculpture by him for their reredos as does also Calcutta Cathedral, and his > work is to be seen in Canterbury, Lincoln and Peterborough Cathedrals, > Beverley Minster and Westminster Hall."Mr. Nathaniel Hitch. The Gothic > Tradition in Sculpture." Nathaniel Hitch’s obituary.
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The church dates from the 14th century. It was restored between 1858 and 1860 by the contractor Kerry and Allen of Smalley. It re-opened on 11 September 1860. A carved oak reredos was installed in 1928 and choir stalls in similar style were added in 1935.
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The woodwork in the chancel, including the reredos, was carved by Jessie H. Kennerley. The windows at the east and west ends contain stained glass by Clayton and Bell dating from about 1863. The two-manual pipe organ was built in 1864 by W. Sweetland of Bath.
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The author Thomas Hardy trained as an architect and joined Arthur Blomfield's practice as assistant architect in April 1862. Between 1862 and 1864 he worked with Blomfield on All Saints'. A reredos, possibly designed by Hardy, was discovered behind panelling at All Saints' in August 2016.
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Lectern A fine brass eagle lectern given in memory of Charles Castle, died 1886. Choir Stalls Notable for the finely carved foliage and figures of kneeling angels. Reredos This was given by the Revd. W. H. Shaw at the time of the Church's jubilee in 1907.
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Inside the church the five-bay arcades are carried on octagonal piers with capitals deeply carved with foliage. There are also arcades between the chancel and the chapels. The south aisle contains confessionals. There are marble altars in the chancel and the chapels, each with a reredos.
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Around the walls of the chapel are the Stations of the Cross on stone panels. The stone altar is integrated into the east wall, with a richly carved reredos above it. Some of the stained glass was made by Hardman, but has been moved into storage.
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Under the tower is a baptistry containing a plain round font dated 1712. Three elaborate pews have been constructed for the church. The Cowmire Pew in the northeast of the church was probably created from a reredos and chancel screen in 1521. It was restored in 1911.
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They are carved and inlaid; the clergy stalls include canopies and misericords. The reredos in the south chapel is also by Rae; this contains four angels carved by Harry Hems. By the north chapel is a plaque by Della Robbia. The octagonal font is in alabaster.
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It was constructed by Farmer and Brindley in 1876. The reredos and the floor mosaic date from 1876, and were designed by J. R. Clayton. The east window has tracery of an elegant Decorated Gothic design which is filled with stained glass of 1884 by Heaton, Butler and Bayne.
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The interior of the church is brick and terracotta throughout. In the chancel is a three-seat sedilia with a lancet above each seat. The reredos is by Jabez Thompson, and depicts the Last Supper in terracotta. The stained glass includes a mid-20th century window by Trena Cox.
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There are several items of carving from the "Macclesfield School of Carving" within the church. The most notable is a fine Edwardian reredos altar screen. This was dis-assembled during a restoration programme by over enthusiastic conservators to return the look of the Church to its Georgian original.
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The north window has five lights. Inside the church are arcades carried on octagonal piers, a wooden reredos, a low stone wall between the nave and the chancel incorporating a wooden pulpit, and a stone font. The three-manual pipe organ was made by E. Wadsworth of Manchester.
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This is flanked by round-headed sash windows. Above these is a pediment containing a panel with the original name of the church and its date. There are similar sash windows along the sides of the church. Inside the church is a reredos containing a three-arched arcade.
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The reredos was carved from Silverdale limestone. Four pinnacles rise from it and are capped with crockets. St. Mary's Altar is located in the northwest corner of the north transept. It is the oldest altar in the cathedral having been originally used by Christ Church parish in 1887.
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Perhaps the most striking feature of the church's interior, however, is its south window, designed as a Tree of Jesse by Augustus Pugin. Other features of interest are the 14th-century pulpitum and sedilia, the 15th-century reredos and pyx canopy, and the 16th-century monument to John Tregonwell.
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The chancel is semi-circular and has a roof on wooden beams. The upper walls have brightly coloured mosaics of prophets and angels. The white marble altar and mosaic reredos of "The Last Supper" can be seen. Behind the altar is a mosaic reproduction of Rosselli's "Last Supper".
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Reredos of the backchoir. Image of Santa María de la Mayor. Entering through the main façade, the first thing that surprises us about the temple is the monumental set of Baroque style of which the backchoir consists. Until the 17th century three reredoses were attached to its wall.
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Inside the church the arcades are carried on octagonal piers. The stone reredos has much gilding and is decorated with Gothic motifs. The baldacchino is supported by marble shafts. The main altar is flanked by side altars, and there are more altars at the east ends of the aisles.
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Most of the fittings have been removed. The east window, dated 1885, is by Kempe, and depicts God and major Old Testament figures and saints. Now hidden by flooring is a memorial to John Whitmore who died in 1374. The former chancel screen and the reredos are also hidden.
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The church is constructed in Yorkshire freestone in the neo-Gothic style with a chancel, nave and aisles. The bells were the gift of John Higham of Swinton and his wife gave the lectern. Mrs Harrison gave the font, Mrs Whitehead the reredos and Mrs Brown the pulpit.
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The reredos, sedilia, piscina, pulpit, and font are all in a simple design by Street. The chandelier is by William Bradshaw, and is dated 1730. The floors are tiled throughout. Under the chapel arch is the stone effigy of a recumbent knight, dated by his armour to the 1330s.
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Retrieved on 4 August 2020. The interior is adorned with a number of carved oak reredos, designed by Sir Robert Lorimer. Some were painted by Phoebe Anna Traquair, one of two examples of her work in Glasgow. The church also includes a total of nine stained glass windows.
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In both cases, the supporting plinth (predella) often featured supplementary and related paintings. If the altar stands free in the choir, both sides of the altarpiece can be covered with painting. The screen, retable or reredos are commonly decorated. Groups of statuary can also be placed on an altar.
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The reredos depicts the Last Supper and was designed by Romaine Walker, the son of the first Vicar, 1882, and carved by Thomas Earp. The East window, also designed by Romaine Walker, shows Christ in Majesty; by Clayton Bell (c. 1880). The oak rood screen was added in 1911.
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The ceiling is coved. The interior of the chapel is panelled and the stalls are arranged down the sides. The pulpit is octagonal and it has a sounding board and an ancient hourglass. The reredos was painted by Lady Leighton and carved by Countess Bathurst, one of her aunts.
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It was designed by Joseph Goldie in 1929 and restored in 1953 after war damage. A lady chapel was built in 1970. The stained glass is by Patrick Pye. Caen stone reredos The rear altar of the church is from a Jesuit college in Hales Place, near Canterbury, Kent.
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The church has three light windown set in recesses with quatrefoils. The floor is stone flagged and the nave ceiling wooden tunnel-vaulted. There is an organ situated on a mezzanine level at the east end of the north aisle. There is a reredos of carved and gilded wood.
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The main altarpiece is dated in 1572, is Plateresque style and presents beautiful high reliefs. The choir of the nuns with a beautiful azulejos plinth, a Plateresque reredos and an ashlar, all of the 16th century, were all built at the base. Part of the building is a museum.
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Elsewhere there are 19th-century monuments in Classical style, and brasses dated 1692 and 1872. The reredos is in alabaster and dates from 1897. The stained glass in the west window dates from 1891. It depicts archangels, was designed by Carl Almquist, and made by Shrigley and Hunt.
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St. Peter and Paul Church St. Peter and Paul is a Gothic church in the quarter of Detwang in the Bavarian tourist resort of Rothenburg ob der Tauber in the Tauber valley. The most important piece of artwork in the church is the crucifixion reredos by Tilman Riemenschneider.
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Inside the church is a 14th-century piscina and a sedilia. The stairs leading to the former rood loft are still present. The octagonal font dates from the 15th century, and its bowl is carved with shields and flowers. The reredos and the chancel ceiling were designed by Butterfield.
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Interior The church is of a gothic revival style, built of coursed stone with ashlar dressings. The church has a steeply pitched slate roof with gable ends. The church has a four-bay nave with octagonal piers. The reredos is made 1891 of Burmantofts faience and coloured tiles.
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The reredos is by W. D. Caroe, 1899.Pevsner, N. (1952) South Devon. Harmondsworth: Penguin Books; pp. 150–51 Within the Parish of St David with St Michael and All Angels, the building towers above its surroundings, the spire exceeding the height of even the towers of Exeter Cathedral.
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In the 1920s he designed and constructed a number of spectacular Baroque reredos for various Anglican churches, often employing affordable materials such as plywood, whitewood, papier mache, embossed wallpaper, and tinted varnished foil to achieve the desired effect; which has meant that some of this work has not weathered well. Notable examples of his furnishings in central London are the re-fashioned reredos in St Mary's, Bourne Street, Pimlico, c. 1920, and the remarkable Churrigueresque altarpiece in St Augustine's, Queen's Gate, South Kensington, 1927. After his involvement at the International Exposition of Modern Industrial and Decorative Arts – which gave rise to the term Art Deco – much of Travers' furnishing output had an Art Deco flavour.
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Stitched composite of more than 300 digital photographs showing the top 22 by 5 feet of the mural The Mission Dolores mural is an 18th-century work of art in the Mission San Francisco de Asís, the oldest surviving structure in San Francisco. In 1791, the Ohlone people, Native Americans of the San Francisco Bay and laborers for the church, painted the mural on the focal wall of the sanctuary. Five years later, an altarpiece known as a reredos, was constructed in front of the mural, blocking it from view for more than two centuries. The mural remained mostly unseen in the intervening years, decaying slowly as it was protected from light and moisture behind the reredos enclosure.
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Narciso Tome's 'Transparente' in the Web Gallery of Art. Cardinal Astorga y Céspedes is buried at the feet of El Transparente. According to American writer James Michener's book Iberia (1968), the Transparente was installed to allow light to pass from the ambulatory behind the high altar (or 'reredos' as he calls it), onto the tabernacle (container for the Blessed Sacrament) which stayed in constant shadow because of the tall reredos. Not only was a skylight cut into the top of the thick back wall of the cathedral across the ambulatory behind the high altar, but another hole was cut into the high altar itself to allow the shafts of sunlight to illuminate the tabernacle like a spotlight.
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Before his death in 1907, he provided seven windows for the church; he also designed a rood screen for the chancel, which was carved in the German village of Oberammergau. (The village, famous for its woodcarving tradition, also supplied an intricately carved reredos to St Martin's Church in Brighton's Round Hill district.) There are other painted and stencilled panels from the 19th century throughout the church, representing various Biblical scenes. The reredos was also designed in the late 19th century, and depicts various figures including St Richard of Chichester. View across the churchyard from the southwest, showing the yew tree by the entrance door A chapel was built on the south side in 1907.
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The church was commissioned by Archbishop of Santa Fe Rudolph Gerken in 1939 and completed in 1940. The project served three purposes: to provide a new parish church on Santa Fe's east side, to commemorate the 400th anniversary of Francisco Vázquez de Coronado's expedition to New Mexico, and to provide a permanent home for the Reredos of Our Lady of Light. The stone reredos was carved in 1761 and was originally installed in the Chapel of Our Lady of Light, also known as La Castrense, on the Santa Fe Plaza. More recently, it had been stored for decades under less than ideal circumstances in a rarely visited room of St. Francis Cathedral.
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In the chancel are a sedilia and a piscina. The reredos is in alabaster. There are two more fonts in the church. The one in the south transept is also octagonal, is made of Portland stone, and is carved on four of its faces with the symbols of the Four Evangelists.
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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.
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Inside the church are galleries on three sides, carried on octagonal cast iron columns with fluting and roundels in the capitals. At the west end is a pair of staircases. The ceiling is flat. The reredos was made by Powell's in 1909, and is made using the opus sectile technique.
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Three stained glass windows at the east end of the church were designed by Mr. F. Drake of Exeter. The font is made from carved Beer stone with a Hamstone base. Following the death of Mrs. Scarborough, her son had oak reredos added to the church in 1892 in her memory.
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Inside the church are five-bay arcades carried on quatrefoil columns. The nave has a hammerbeam roof, and in the chapel is a canted, stencilled ceiling. The reredos contains five niches containing paintings dating from 1905 by Sigismund Goetze. The octagonal font is in alabaster, and has a traceried cover.
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In the remodelling of the sanctuary a new wood panelled reredos was fitted and the communion rails extended forward at the sides. The pulpit was retained in its original position, but the babtismal font was reset. The choir was enlarged to accommodate 42. The architect was N. S. W. McPherson.
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Above both the chancel arch and the (liturgical) east window are painted decorative friezes; the latter was renewed in the early 1990s. Other internal fittings include three sedilia, a wooden pulpit, a simple octagonal font and a wooden reredos with tablets showing the Ten Commandments, Lord's Prayer and the Nicene Creed.
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Seven lamps represent the gifts of the Holy Spirit. The reredos is in gilded oak, and was designed by Hay & Henderson in 1896. The lancet windows depict the crucifixion, with Saint Paul and Saint Columba on either side. The roof of the nave is a hammer beam structure with wooden gargoyles.
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The pedimented gable sports classical urn finials and the Latin date "DEO 1788." The design of the church has been credited to Father John Reid, with later additions by Peter Paul Pugin. Inside, the reredos incorporates a painting of St Gregory by Caracci, a gift from the Earl of Findlater.
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Inside the church, the arcades are carried on octagonal piers. The roof is a hammerbeam supported on corbels carved with angels. At the east end of the church are seven steps leading up to the altar. The reredos is a war memorial of 1921 that includes panels painted by Kingston Rudd.
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New brass lighting pendants were suspended from the roof and the seating was re-spaced. The contractor was J.A. Dennis of Tavistock, and the architect George Fellowes Prynne. The new reredos with riddels (curtains) to the design of A.S. Parker was carved by J.R. Hunt and dedicated on 19 May 1929.
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The roof is arch-braced in type. In the chancel is a two-bay organ loft to the north and a two-bay chapel arcade to the south. The wooden reredos has rich carving. The stalls are dated 1897 and are decorated with Arts and Crafts ornament and enamel plaques.
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The reredos in the chancel was designed by Pugin in 1867; it is in richly carved alabaster, and contains statues in niches. In each chapel are three statues in canopied niches. Stretching across the whole church is a continuous marble altar rail. The east window contains stained glass dating from 1925.
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In 1971, a second phase of renovations expanded the Chancel area; restored and refinished the Altar, Reredos, pews and floor; upgraded lighting, sound and electrical systems; covered sanctuary walls with vinyl; replaced the wooden tracery of the rose window with stone; installed an air conditioning system; and painted exterior woodwork.
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A larger arch was built at the entrance to the chancel and a carved oak screen provided. The chancel was re-floored with black and white marble and a new reredos of oak and alabaster inserted. A new choir vestry was provided. The contractor was Messrs Bowman and Sons of Stamford.
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The floor was laid with Godwin tiles. The church accommodated 360 people. It was consecrated by the Bishop of Truro on 20 August 1883. In 1892 a new reredos was installed, designed by the architect Edwin J Munt and built by Harry Hems and Sons, in memory of Mrs. Bishop.
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There are panelled 14th-century screens between the nave and the chancel, and between the chancel and the chapel. The chancel has a double south arcade, an aumbry in its north wall and a piscina in the south wall. In the chapel is a carved stone reredos. There are two pulpits.
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The church contains monuments and tablets to the family of Admiral Robert Blake. A reredos was erected in 1893 in memory of Lady Mary Taunton. After deconsecration in 1981 the altar was moved to the Church of St Margaret, Spaxton. Since 1986 the church has been converted into a private residence.
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The chancel was re-fitted and furnished with a stone reredos, inlaid with encaustic slabs with scriptural scenes. The chancel floor was re-laid with Minton tiles. Jones and Willis of Birmingham supplied the lectern, lamp-standards and altar cloths. The alterations were overseen by the architect, Robinson of Derby.
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The wooden altar, pulpit, choir seats, cathedra, and altar rail are located here. There are seven windows on the apse wall depicting Jesus Christ, the Four Evangelists, St. Peter, and St. Paul. The windows in the middle are obscured by the reredos. The organ chamber is to the left of the chancel.
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Inside the church the nave and chancel are in one vessel with a single waggon roof. The five-bay arcades are carried on round piers. The octagonal pulpit is in stone with clustered shafts in marble. The high altar and the reredos date from about 1900 and are panelled with coloured marble.
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Internally, the nave is of four bays. The arcade has octagonal columns. In the chancel there is a marble reredos designed by Powell. The stained glass in the church includes a war memorial by Morris & Co. and an image of Saint Chad and Saint Cuthbert by Lancaster-based firm Shrigley and Hunt.
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The chancel windows are spherical triangles. At the west end of the church are three lancet windows with trefoil heads between which are colonnettes, and above them is a trefoil rose window. On the bellcote are gargoyles. Inside the church, the reredos has a tiled dado and panels with a floral decoration.
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High altar, church interior The church has large internal buttresses that are pierced by passage aisles and which support high-level arches. The barrel roof is richly painted above chancel. An elaborately carved rood screen separates the nave from the chancel and the sanctuary is raised. The reredos is decorated with painted figures.
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The roof is a hammerbeam. The reredos consists of a First World War memorial dated 1920 with gesso work by Joseph Lawton. Forming part of this memorial is the glass in the east window which is by Shrigley and Hunt. In the north aisle two windows contain stained glass by Edward Frampton.
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The main Parish church was built in the 19th century colonial style. Notable features are the 17th-century reredos and the image of St. Mary made by the Andalusian sculptor Luis Ortega Bru. The church became a shrine at the end of 2005. The Church of the Immaculate Conception has three naves.
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As originally built, the church had a four-bay nave and two further bays in the chancel, which also had a transept. A porch led into the nave on the west side. Inside, below the roof trusses, there was a gallery at the west end. Fittings included a reredos and a marble altar.
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The vertical movement is accentuated by the twin hexagonal four-story bell towers flanking the facade. The painting of Our Lady of Consolation at the apex of the reredos. The two hexagonal towers are solidly built. The four bells dated between 1850 and 1877 are dedicated to Saint Augustine and Saint Monica.
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There is a large organ with three rows of keys and containing between thirty and forty stops. The stalls are of carved oak, interspersed with walnut and cedar. A reredos of carved oak, enriched with figures, niches and canopies, was erected in the 1800s. The vestry was enlarged and ornamented with caning.
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The pulpit is of Elizabethan appearance, but is more likely to be 17th century. The baptismal font and royal arms (made of Coade stone) were both made in 1842. The reredos behind the altar, depicting the Last Supper, dates to 1879. The numerous monuments are mostly associated with the local Poyntz family.
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Inside the church, there is a square font dating to the Norman period of a similar style to others in Cornwall. Behind the high altar, is a seven- bay, Gothic style reredos. On 17 January 1952, the church was designated a grade I listed building. In the churchyard is a Gothic lantern cross.
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The proceeds from the sale of the site came to £44,990. Some of this went towards the building of the new church of St Antholin in Nunhead, in Peckham, south London, to a design by Ewan Christian. The new building also received the City church's reredos. It was consecrated on 11 May 1878.
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The reredos to the high altar was designed by George Frederick Bodley and carved in Oberammergau. It features scenes from the life of Christ. The choir stalls date from the fourteenth or fifteenth century and were originally from St. Mary's Church, Nottingham. They were acquired by the organist of St. Stephen's in 1848.
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The altar, reredos and sanctuary area were designed by Peter Paul Pugin. The stone and alabaster free-standing and canopied altar was made by Boulton's of Cheltenham. On the north side of the sanctuary is the Lady Altar, also by Pugin. The paintings, which depict saints, were executed by Joseph Pippett of Birmingham.
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The chancel roof is panelled and has moulded rib vaults and intricately decorated ceiling bosses. The nave roof of four bays also has trefoil-headed panelling. A gallery at the west end houses an organ built in 1839. A plastered stone reredos, also with trefoil-headed panels, dates from the mid-19th century.
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In 1899, a new bell was given and three others recast. The present organ was given in 1904, the year the choir-stalls were also made. The reredos was erected in 1920. Additions of recent years include among others the interior decoration, the kneelers, the festal frontal and the list of Rectors.
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The cathedral was the first church in the Quad Cities to make this change. The communion rail, pulpit and bishop's throne were removed in 1980. A new cathedra, or bishop's chair, was placed against the reredos so that he would face the congregation. The liturgies were celebrated in English instead of Latin.
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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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The reredos has two panels of Biblical scenes in marble which are separated by plaster angels. In the church is a memorial to Edward the Elder who founded Thelwall in 923. This is dated 1907 and is by Eric Gill. The frame of the memorial is by F. C. Eden and Helfar Bros.
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On the two sides of the altar are box pews with brass name plates for the patrons, the Broughton and Kenyon families. The panelled timber reredos is in three parts, bearing the Lord's Prayer and the creed to the left and the right and an extract from Exodus in a divided central panel.
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The surviving -long building is about half the original length. The remainder survived the dissolution and continued in use as the local Church of England parish church. Some elements of the original Norman architecture are visible externally, while internally a 15th-century hammerbeam roof and a reredos by Ninian Comper can be seen.
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The chancel woodwork is in American walnut and was carved by Earp of Manchester. The wooden altar is elaborately carved as is the reredos. The pulpit is in carved walnut on a base of Mansfield red stone. A new case was made for the organ at the east end of the south aisle.
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Altar, reredos and original, c. 1886, windows. Chapel of the Sacred Heart, Dingle Detail of The Sermon on the Mount, 1924 The Chapel of the Sacred Heart is a neo-gothic chapel in Dingle, County Kerry, Ireland. Attached to Saint Mary's Catholic Church,"Saint Mary's Catholic Church, Green Street, Dingle, County Kerry".
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Inside, the sanctuary is decorated with multiple white reredos and many statues; the interior is illuminated by light from lancet windows, one of each which is found in each of the side bays. Throughout the building, the architectural elements include high pointed arches.Brown, Mary Ann. Ohio Historic Inventory Nomination: St. Rose Catholic Church.
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These include a reredos, and stained glass, that in the north window depicting the Deposition, and in the east window the glass in the wheel window is decorated with a monogram and rays. The two-manual organ was built in 1961 by Henry Willis, and was modified in 1964 by the same builders.
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The Sanctuary is dominated by the reredos that came from St Thomas's Portman Square. It was made to the design of Cecil Greenwood Hare, Bodley's last partner and successor to his practice. The three manual organ also came from St Thomas', Portman Square and was reconditioned and electrified by Walker and Sons Ltd.
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The church dates from the 14th century. It was restored and reopened by the Bishop of Lichfield on Thursday 13 November 1851. The reredos was designed by James K Colling of London and was added in 1878. The pulpit was obtained in 1896 and is made of Derbyshire alabaster and green Irish marble.
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The reredos had Corinthian columns and the pulpit was of carved oak. The pulpit was modernised by Arthur Blomfield in 1878. Rectors of the church included John Douglas, later Bishop of Carlisle, from 1764 to 1787, and Richard Harris Barham, author of the Ingoldsby Legends, from 1842 until his death in 1845.
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Inside the church is a double-chamfered chancel arch, and arches between the chancel and the chapels. The chapels have wooden barrel roofs. There is a piscina in the nave and another in the chancel, both of which are damaged. The reredos is partly painted and partly in mosaic, with a marble triptych.
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The arcade between the nave and the aisle has four bays, and is carried on quatrefoil columns. The reredos is a memorial to the First World War. The font is octagonal and dates probably from the 1880s. In the east window is stained glass dating from about 1929 depicting the Te Deum.
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The east window cost £200. The screen was the gift of the sons of Thomas and Alice Tew. The Lady Chapel has a reredos that provided by Mrs Bowman-Hart, and an altar in St Michael's chapel is to commemorate Charles Matthews and his son. There is a richly decorated baptismal font.
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The Eastern window and the reredos was donated by James Fischer, in memory of his wife who had died in 1861. The Western Circular window was raised in memory of E F Elliot. The church bell was given by the Government of Madras. When finished the total cost of construction was Rs. 15000.
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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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The noted Yale sculpture teacher and carver Lee Lawrie carved the 17 statues standing in the reredos. The lower 11 statues in niche's are carved in the High Gothic style: they represent Christ in the center, flanked by Mary and Elizabeth, while the prophets Samuel, Elijah, Isaiah and Ezekiel stand in pairs on the Gospel side, and the evangelists Matthew, Mark, Luke and John stand in pairs on the Epistle side. The 6 tall, winged angels standing above are early Art Deco. The reredos thus shows the transition in style from high Gothic to modern in one work. In the late 1920s, two additional memorial windows, this time by D’Asenzo Studios in the manner of French Gothic windows of Chartres Cathedral, replaced more of Harwood's Grisaille windows.
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Interior of St Magnus the Martyr Martin Travers restored the 17th century high altar reredos, including the paintings of Moses and Aaron and the Ten Commandments, and reconstructed the upper storey.Although these paintings cannot be seen on pre-1924 photographs, they are mentioned in T Francis Bumpus’s Ancient London Churches (1910, reissued 1923) and in an article by Philip Norman on The Church of St Magnus the Martyr in the Transactions of the St. Paul's Ecclesiological Society (1915). It appears that they had faded and the combination of strong, even lighting and longish exposure time, not to mention the quality of contemporary negatives/plates and printing technology, contributed to the loss of detail in the photographs. Above the reredos Travers added a painted and gilded rood.
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The wooden reredos, which includes a wooden statue of Saint Michael dating back to at least 1709, was added in 1798. The church is a contributing property in the Barrio De Analco Historic District, which is a U.S. National Historic Landmark. and As of 2020, weekly Mass is still offered at the chapel on Sundays.
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While he was priest, the reredos, which was designed by Frederick Walters and had glass by Hugh Ray Easton, was added to the church. Around that time, windows designed by Franz Mayer & Co. and Hardman & Co. were also installed. On 31 May 1950, the church was consecrated by the Bishop of Southwark, Cyril Cowderoy.
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Rising from the corners of the façade are octagonal turrets. The sides of the church have five bays, each containing a lancet window between buttresses. Inside the church is a west gallery carried on iron columns. A shallow recess forms the chancel, which contains a reredos, above which is a large painting of the Crucifixion.
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The church contains two large altar-screens (reredos) by the renowned santero Pedro Antonio Fresquis. One screen is dated 1821, and there are other fine examples of early nineteenth- century santero art in the church.Cash, Marie Romero, Built of earth and song : churches of northern New Mexico, photography by Jack Parsons. Red Crane Books, 1993.
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Chantry chapels were founded, on the north side of the chancel by the Leventhorpe family, and on the south by the owners of Bolling Hall. The tower in the Perpendicular style was added to the west end and finished in 1508. In 1854 Robert Mawer carved a new reredos in Caen stone for the church.
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The font is early 17th century and the choir stalls feature medieval misericords. The timber roof was replaced in 1886 to designs by John Loughborough Pearson. Pearson also designed screens and the reredos. The church tower has a ring of bells consisting of ten bells ranging from a treble of to a tenor of .
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1926, was carved in 15th-century style by Herbert Read of Exeter. It was the gift of the children of Mrs Mary Elizabeth Aspinall, late of Waterloo House, Holsworthy, and is dedicated to her memory. The Reredos depicts St Peter and figures with shields that carry eight symbols of the Passion Story. They are 1.
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The floor was re-laid with maple blocking and the heating system was overhauled. The stone paving in the aisles was relaid at the same height as the rest of the floor. The large reredos was moved from the east end and replaced with a smaller one. The church was reopened on 11 September 1903.
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Porter married in London, on 25 October 1847, Annie Shirley da Costa, by whom he had two children: Catherine, who married Captain Crosse; and Reginald da Costa, a lieutenant in the Royal Engineers who died in accident in 1882. Porter erected a reredos at St. Michael's Church, York Town, to the memory of Reginald.
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The tower is in Gothic Survival style. The chancel of 1690 has been converted into a side chapel. It contains many of its original fittings and furniture, including an elaborate wrought iron font cover made by Robert Bakewell. The reredos contains panels inscribed with the Ten Commandments, the Lord's Prayer and the Apostle's Creed.
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Fittings include Aston Webb's stone reredos—in a triptych form with carved figures and tracery on each panel—an octagonal carved stone font dating from 1888, the high- quality Willis organ of 1890 (housed in its own chamber off the chancel), and a stone pulpit donated by Rev. Cumberlege's widow and designed by Pearson himself.
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He is remembered at Dulwich College by the organ in the Great Hall, a wing of the old school library and reredos of the chapel. A temporary boarding house was also named after him. He was buried at West Norwood Cemetery where he has an elaborate memorial, near the former site of the episcopal chapel.
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In 1720 a new reredos was installed, and workmen took hammers and saws to the paintings to make them fit into the new frames, losing over half of the large central panel and a quarter of each of the two side panels.Parent, Thomas (2000). Das Ruhrgebiet: vom "goldenen" Mittelalter zur Industriekultur, p. 179. DuMont Reiseverlag.
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St Helen's Church a medieval church dedicated to 'St Helen' dating from the 13th century. It was heavily restored by the Rector, Canon Frederick Heathcote Sutton and the architect George Frederick Bodley between 1874 and 1876. The chancel (a rebuild of 1812) was entirely demolished by Bodley in 1874. He added the reredos in 1887.
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The church had a large western tower, with a clockface, and had a graveyard. In 1868 a school was started at Wood Top, and in 1879 the church was founded. In 1892 a tower was added and a reredos installed. In 1979 the church was demolished, and the parish combined with All Saints, Habergham.
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The chancel arch was rebuilt. The plaster between the rafters of the chancel was stencilled and emblazoned by Mr Stansell of Taunton. The chancel was fitted with oak stalls, and the floor tiled with encaustic tiles from Maw & Co. The reredos was made by A.W. Blacker of Dawlish. The church reopened on 14 October 1864.
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The interior was a plain room, with a flat ceiling, coved at the sides, ornamented with a single oval panel, with a flower at the centre. There was an arched recess at the east end to accommodate the reredos. Beneath the church was a burial vault, entered through a door at the west end.
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"The Plate of the Chapel of the Sardinian Embassy," Charles Oman, The Burlington Magazine, Vol. 108, No. 763 (Oct., 1966), pp. 500–503. A well-known print of London's eighteenth-century Roman Catholic Bishop, Richard Challoner shows him preaching in the Sardinian Chapel, behind him the chancel with its reredos painting of the Deposition.
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Chapel Although a ceremonial door opens directly into Front Quad, the chapel is usually reached through the door in staircase 3. The screen, similar to that in the hall, was carved by John Bolton. Originally Jacobean woodwork ran right round the chapel. The present stone reredos was inserted in the east end in 1834.
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Over time more funds and a new church began to be built based on the design of Giles Gilbert Scott in 1909, to be completed the following year was raised. The church's reredos was created by Frances Bessie Burlison. It is one of the Registered Buildings of the Isle of Man. Includes eight photos.
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The reredos, dating from 1866, was designed by Edwin Stirling. In the Derby chapel is a recumbent alabaster effigy by Matthew Noble of the 14th Earl of Derby. Along the chancel walls are memorial mosaics dating from the 1910s and 1920s. The octagonal font was created in 1890 by Stubbs and Sons of Liverpool.
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The reredos and much of the stained glass is by Kempe. At the west end of the church are the Royal arms of George III. The organ was built in 1947 by Rushworth and Dreaper. There is a ring of eight bells, all of which were recast in 1978 by John Taylor and Company.
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The chancel has an 1832 Gothic reredos by Charles Barry. The rood screen is from the 16th century. It has a tall four-stage tower with set-back buttresses which develop into crocketed pinnacles at the top stage. The top displays moulded string courses and a trefoil-pierced triangular parapet with gargoyles and corner pinnacles.
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Inside the chapel the original box pews were replaced by facing pews in college style. At the west end is a raised family pew. On the walls are terracotta panels by George Tinworth. The reredos is in mosaic with an alabaster surround, it was made by Salviati and is loosely based on Giotto's Dormition.
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In 1688 Sir John Bucknall became the owner of the house. He blocked the east door and added a reredos to the east end of the chapel. The wood for this came from the house which he had largely rebuilt. In 1704 a bellcote and a hipped, tiled roof were added to the chapel.
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In the church, the reredos has panels containing opus sectile and mosaic. Around the church are Stations of the Cross designed as a frieze by May L. G. Cooksey. In the chancel are windows containing stained glass dated 1886 by Shrigley and Hunt. The original two-manual pipe organ was built by Franklin Lloyd.
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The high altar reredos was carved by Nathaniel Hitch, as were the apse carvings. The pulpit is carved in Italian marble and depicts the Apostles and Church Fathers. The stained glass includes windows by Kempe and Herbert Bryans. The original pipe organ originally built by Wordsworth and Maskell of Leeds, has been unusable since 1996.
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The patterns are highly intricate and are reasonably intact. A gallery was added at the western end in the 1840s but later removed. Other interior features include stained glass windows, a carved reredos, an organ, choir stalls, a stone pulpit, a brass lectern and oak pews. Many of these fittings have been donated by descendants of early families.
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The church's sides feature round-arched stained-glass windows. At the back is a semi-octagonal apse. The nave inside is little- changed from the 1800s, with the original oak pews, a plaster barrel vault ceiling, and the original Baroque-styled carved wood reredos. The cornerstone was laid in 1890 and the church was dedicated in 1892.
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Inside the church are galleries on three sides supported by cast iron columns. A brass dated 1881 was produced by Shrigley and Hunt. The arms of Queen Victoria are on the west gallery. The stained glass in the east window is by William Warrington, and the tiles on the chancel floor and in the reredos are by Mintons.
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Tradition says that the Lord leaned down from the crucifix and said; "Francis, go and repair my house." The altar screen, a reredos, was created for the 100th anniversary of the Cathedral in 1986. In the center is an 18th-century statue of St. Francis. He is surrounded by painted images of saints of the New World.
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Until the construction of the main reredos, the image if the Virgin was kept in this place. It was later replaced by other coming from the chapel of the Alcázar Real, which is the one that can be seen today since 1845. This carving dates back to the end of the 13th century. It was restored in 1998.
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Once the cathedral was completed, the reredos was consigned to a small room behind the altar away from public view. In 1940, it was moved to the new Cristo Rey parish church on Canyon Road, which was built specifically to house it, and has remained there since. The church was designed by noted New Mexico architect John Gaw Meem.
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The interior walls are of polychrome brick, red with black and white bands and diapering. The chancel arch is of moulded stone dogtooth decoration with colonnettes on corbels supporting the capitals. The reredos is arched on Purbeck marble colonnettes with alabaster carving depicting the Last Supper. The east window and rose window at the west end contain stained glass.
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Original fittings from the 19th century include an octagonal stone pulpit, a brass lectern and a font with a central column supported by four marble shafts. The organ was built by Vowles of Bristol. The carved reredos is made up of three panels, each divided by Devon marble columns, and surmounted by a cornice with a carved finial.
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The reredos is carved with figures in low relief. There is a memorial to Admiral Tollemache, who died in 1837, and to his wife, who died in 1846. Stained glass dates from 1987. In the west gallery is a two- manual organ built by Peter Conacher and Company in 1914, and overhauled by the same company in 1965.
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All the visible wood in the chapel is oak, including its entrance doors, each of which weighs 800 pounds. The reredos, choir stalls, chancel rails, pulpit, lectern, and narthex screen are of English pollard oak. The pews and narthex ceiling are of Appalachian Mountain oak. Wood carvings were done by Irving and Casson, A.H. Davenport Company of Boston.
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Inside the church is an elliptical chancel arch. When the building was in use as a church, it had a tripartite painted reredos, and there were paintings round the walls of the nave. The font was in alabaster, it stood on three marble steps, and was supported by carved angels. It was decorated with cherubs' heads and gadrooning.
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The windows in the nave are triple lancets; those in the apse are double lancets, the east window having its base higher than the lateral windows. The windows in the aisle have either two or four lights. Inside the church is a four-bay arcade. In the chancel is an opus sectile reredos made by Powells.
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East end of St Ursula's Convent The Agustinas Ermitañas Convento Santa Úrsula is an Augustinian convent located in the city of Toledo, in Castile-La Mancha, Spain. It was founded in 1259. The church dates back to 1360 and retains some of the original Mudéjar architecture. It has a reredos made in 1535 by Alonso Berruguete.
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It was originally square but later recut in the 16th century to form a semicircular front. Other fittings include late 19th-century stone reredos, a carved oak pulpit of 1902. The church room opposite St Ann's was built as a schoolroom in 1850 on a plot of land donated by William Eliot. It became Grade II listed in 1974.
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The reredos of 1889 was designed by Paley, Austin and Paley. Also in the church are Royal arms of 1710, and hatchments, including that of John Barwick. The stained glass in the east window includes the arms of Barwick. Its design has been attributed to Henry Gyles of York, and the window dates probably from 1671.
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The galleries and pews were removed, the stonework of the pillars, arches and windows was cleaned and repaired. The floor was levelled and concreted and in the nave laid with black and red Minton tiles. The chancel was fitted with encaustic tiles. A new reredos in Ancaster stone replaced Hinton's picture, which was moved to the north transept.
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It is built of red sandstone and the arcades are of Beer stone. According to John Betjeman "the full-aisled Devon plan at its best". The tower is handsome and the rood screen is massive and stately with ancient colour and a good series of figure-paintings. The pulpit is medieval and the reredos is by Charles Eamer Kempe.
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The church contains a 16th-century Flemish reredos, in the North aisle, showing the crucifixion. It is set in a frame by Sir Ninian Comper. Until the late 1530s, a chantry altar probably stood in the church, perhaps for a guild. There is a squint that would have allowed the chantry priest a view of the high altar.
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Martyrdom of St Lawrence by Pasquale Cati. The church has a single nave with three chapels on each side. A late 16th-century fresco of the Matryrdom of St. Lawrence serves as the reredos of the high altar and was painted by Pasquale Cati, a pupil of Michelangelo. The crucifix of the high altar is from the 14th century.
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Ashlar dressings and fish-scale tiles were decorated in the 14th century new-medieval style. The beautiful interior was sumptuously appointed with marble alabaster tombs, fittings and reredos. A chancel was added in 1880 and a pulpit two years later. Ornate carving from R.L. Boulton was matched by Lavers stained glass which took ten years (1877–87) to complete.
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268-270, pub. Henry Colburn, London. whilst the Carrara marble graves of the Montagues are located in the northern section of the churchyard. The gilded Comper reredos Another local family which were connected to the church were the Levetts of High Melton, who settled there after leaving nearby Normanton, where they had been prominent since the 13th century.
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The main Parish church was built in the 19th century colonial style. Notable features are the 17th-century reredos and the image of St. Mary made by the San Roque sculptor Luis Ortega Bru. The church became a shrine at the end of 2005. The exterior of the building echoes the interior layout, with a remarkable simplicity and beauty.
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Over the reredos is the coat of arms of Queen Anne. The stained glass is from the studio of Charles Eamer Kempe, and there is a monument dated 1832 by Francis Leggatt Chantrey. The chancel has a wall-mounted war memorial by Arthur George Walker. It is a cast-bronze figure of Christ with arms outstretched surmounting a plaque.
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In 1815, the painting of the Ascension by Andrew Geddes was installed above the reredos in the place previously occupied by the window. When built, the main entrance was in the middle of the north wall. This, too, has now been filled in. The church has a nave and two narrow aisles and is of five bays.
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The pulpit is in stone, and is carved with tracery, arched panels, and buttresses. There are blind arcades on the east chancel wall, and on the reredos. The font is carried on shafts with angel corbels, and has panels carved with symbols. The stained glass in the west window dates from 1862 and is by R. B. Edmundson.
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The floor was relaid and the reredos was removed. In 1978, the presbytery was built to the north of the church and the sanctuary was added. It was built in the shape of a polygon and both were designed by Patrick Foley. In 1979, the stained glass window in the east side of the church was added.
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In the chancel is a sedilia dated 1882. The reredos is a mosaic depicting The Last Supper by Salviati over which is a wooden canopy frieze. The stained glass includes windows by Morris & Co., Robert Anning Bell, H. Gustave Hiller, H. Hughes, Powell and Frank O. Salisbury. The two-manual organ dating from 1929 is by Henry Willis & Sons.
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The Gordon reredos was removed in 1971; the east wall is now bare.Marshall 2009, pp. 124, 159, 167. Font by John Rhind The Caen stone font by John Rhind is in the form of a kneeling angel holding a scallop; the font is an exact replica of Bertel Thorvaldsen's font for the Church of Our Lady, Copenhagen.
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The interior is decorated with red and white sandstone with a chequerboard pattern added in the upper portion. There is no chancel arch, but between the nave and the chancel is a tympanum marking the division. In the chancel is a large alabaster reredos having panels filled with mosaic. The chancel is floored with Minton tiles.
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The arcades are carried on tall octagonal piers mostly without capitals. The roof is coffered and contains carved bosses; although much restored, it still contains some 16th century timber. The chancel is floored in polychromatic marble. The stone reredos is a memorial to a child who died at the age of eight from scarlet fever in 1863.
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The walls have marble reredos, made by Leake and Greene of Pittsburgh, with bands of mosaic in the chancel. In the nave, the walls are random width beaded board wainscoting with chair rail. Above the chair rail, pink plaster rises up to the heavily molded wood cornice. The wood-truss system is exposed to the ceiling.
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Inside the church are concrete vaults on a steel frame. At the west end is a stone gallery carried on three arches. In the chapel is a reredos that includes a copy of the Deposition of Christ by Fra Angelico, executed in 1860 by Vincenzo Corsi; this was formerly in Haigh Hall. The sandstone font is Norman but damaged.
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Inside the church the arcades are carried on round columns with moulded capitals. There is a west gallery, beneath which is a narthex. The marble and alabaster fittings were designed by Pugin and Pugin. During the reordering the reredos was cut down, the altar, which contain mosaic inlays, was brought forward, and the pulpit was converted into a lectern.
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After 20 years, Morse is thought to have raised and spent £18,000 on the interior alone, re-roofing the aisles and transepts, and redesigning the chancel. Apart from the organ of 1871 (which was removed in 1915) the chancel stalls, bishop's throne, reredos, altar, sedilla and rood-screen are all from this date and still extant.
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The new churchyard included the old one, and was planted with aloes, dracaenas, flowering plants and evergreens. The three-panelled reredos is made of red serpentine and inlaid with a marble cross, aureola and sacred emblems. It was fixed in position in May 1879. The font is also made of serpentine, mounted on small granite columns.
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The church structure follows the Baroque style of architecture. Its architectural feature of a single rectangular nave consisting of an apse and sacristy is typical of churches during the Spanish Colonial Period. The altar with its original carved reredos with motifs of various flowers and fruits following the Baroque Rococo tradition can still be found in the church.
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There was an oak reredos, ornamented with a carved pelican and seven candlesticks. Parish marks in Lombard Street An organ built by Renatus Harris was installed in 1695, only being replaced in 1902 by one commissioned from Noble & Sons. During the Napoleonic wars, the roof space was used as a storeroom for ammunition by a volunteer corps.
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A new timber roof was placed over the whole church. The walls were cleaned of plaster, and the pews were replaced with open pews. The floors were lowered around 18 inches and laid with Hereford tiles by the William Godwin Company of Lugwardine, Hereford, and a new oak pulpit was acquired. A reredos was erected by Robert Ratcliff.
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Inside the church are five-bay arcades carried on octagonal piers, and a west gallery. Between the nave and the chancel is a screen with an integral pulpit. In the chancel is a reredos containing mosaic, and sediliae on both the north and south sides. In the eastern bay of the chancel the roof is painted with stencil work.
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The nave roof is barrel-vaulted. The apse contains a large reredos. The pulpit has carvings of Saints Peter and Paul, and there is an alabaster font with tracery decoration. Nathaniel Westlake contributed many stained glass windows and some murals on the vaults including his last work, and local firm Cox & Barnard designed a single window in 2001.
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In addition to the rose window, all the side windows are filled with stained glass. Pews and choir stalls are in ornate carved wood, and the altar is set off by a carved stone reredos. At the rear the oak pulpit is decorated with carvings in medieval Gothic style. The Stations of the Cross are represented by oil paintings.
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St John of Beverley's was described in 1866 as having a tower and spire and a nave and chancel. The south aisle had been removed in 1802 and the south arcade walled up with bricks. The 1867 restoration included a new south aisle. The vestry was also added in the 19th century, as were the chancel arch and reredos.
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Church leaflet on "The Chancel", St Mary Magdalene, Windmill Hill, Enfield "The altar and reredos of the church of St. Nicholas, Rodmersham, Kent, have been exquisitely painted by Messrs. Buckeridge and Floyce". "It represents the best order of ecclesiastical art, viz., the 15th Century German, whilst the character of the ornament is founded on the old Norfolk work".
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At the top center of the panel hangs a large crucifix. Above the panel is where the foot-high Our Lady of Charity statue is enshrined under large canopy supported by four twisted columns. Her feet rest on an urn-shaped pedestal with the same floral design as the reredos. Two angels flanked her sides behind a silvery backdrop.
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In the chancel a brass rail separates the choir from the rest of the sanctuary. The altar is of Caen stone, raised seven steps above the floor. The front features recessed round arches and tinted marble columns. Behind the stone reredos depicts two angels in front of a cross, sculpted in relief, praying over the retable.
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At the north end is a traditional deep square chancel set off from the nave by a stone wall with brass gates. A white marble pulpit and lectern with brass eagle motif flank the steps. In the center is the white marble altar, originally against the north wall. Now located behind it is a paneled reredos with three niches.
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The Baroque style north door is probably by him. Internally he panelled the apse, a platform was created to support a new altar and reredos. The carved cherubs and swags were copied from the contemporary to the church, work of Grinling Gibbons in the choir of St Paul's Cathedral. He also rebuilt three galleries supported by Tuscan columns.
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Four Ionic columns support the domed roof with other columns supporting the tripartite chancel arch.Norfolk 2: Norfolk: North-west and South, By Nikolaus Pevsner and Bill Wilson, North Runcton entry. 0-300-09657-7 The reredos panelling is the work of Bell. The tower has been re-built from Norman materials with carved fragments that might be older.
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The cathedral contains a mixture of decorative styles. The nave, chancel, and sanctuary are highly traditional, with a very large triptych reredos dominating the high altar at the east end of the building. However, two of the side chapels have been refurbished in highly contemporary style, with modern altars, and abstract artistic decoration and religious symbolism.
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It is buttressed at the corners and has a pointed-arched entrance. Original fittings inside include stained glass windows, reredos, wooden panelling and encaustic tiling to the floor. The chapel is protected as a Grade II listed building. The other chapel, now demolished, was for Nonconformists; it stood to the southwest and had a narrow spire.
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Hobart Upjohn, Richard's son, designed the interior renovations that were made in 1926. The reredos, painted by a local Episcopalian nun, was added in 1934. The last alteration to the buildings was the wing added to the parish house in 1964. It is architecturally sympathetic, but due to its recent construction is not considered to contributing.
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The reredos is a mosaic depicting the Last Supper dating from 1866 by Salviati. The pulpit is large and rectangular, made of polychromatic stone and marble with a balustrade of Corinthian columns. The lectern stands on a simple marble column. The font is square and made of polychromatic marble with a mosaic medallion in each face.
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Inside there are four stained glass windows, a 600-year-old font, a carved pulpit and an altar table with a painted reredos. There are six bells in the tower and a Sanctus Bell in the cote. Nearby attractions include: Valley Farm Equestrian Visitor Centre, Easton Farm Park, Glevering Hall, the Snape Maltings, Framlingham Castle and Sutton Hoo.
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Inside are reredos and benches, a 14th-century font and a late 17th-century monument. The 13th-century oak screen in the church originally divided the Great Hall and the Buttery in the adjacent Court House. The first record of the church is an agreement dated 1226 between William, son of Arthur de Clopton and Richard of Keynsham Abbey.
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The church contains a good collection of Victorian stained glass windows that were commissioned by Thomas Boddington, who lived at Gunnersbury Lodge, in 1864-74. Old wall tablets and a medieval brass to Richard and Kateryn Amondesham (c.1490) were retained from the old church. The marble and Caen stone reredos was adorned with Salviati mosaics.
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Inside the church the arcade between the nave and north aisle is carried on circular sandstone columns with moulded capitals. The stone reredos contains four niches with statues. The alabaster pulpit is large and elaborate; it was formerly in Manchester Cathedral. The stained glass in the east window dates from 1949 and is by Abbott and Company of Lancaster.
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A new pavement of marble was laid. In the sanctuary, a new reredos was installed, with an engraving of the scene on Mount Calvary. The woodwork was done by Mr Elwell of Beverley. The walls by Burlison and Grylls, the floor by Belham of Buckingham Palace Road, London and the marble work by Twigg of Ashford.
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Inside the church, behind the altar, is a reredos carved with The Last Supper. The chancel contains a sedilia and choir stalls. The pulpit is in oak. The stained glass includes windows by D. Brookes of Weirs Glass dating from the middle of the 20th century, and an earlier window in the baptistry depicting Saint Peter.
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Inside the church are a two-bay north arcade and a five-bay south arcade. The north transept contains a Lady chapel, and in the south transept is the organ loft. On the south side of the chancel is a sedilia. The furnishings were designed by the architects, including the reredos of 1917, the font, and the pulpit.
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Externally the church is finished with Sweldon limestone, Bath stone and ashlar while, internally, the nave pillars are alternatively round and octagonal. The carved pulpit was "a sumptuous piece" in pink, green and buff coloured stone. The gilded and painted reredos screen was early 20th- century. The church became a Grade II listed building in 1975.
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The altar is prominent; it dates from 1911, was designed by C. E. Deacon, and was carved by Harry Hems. They also created the screens of 1898 and 1908. The reredos dates from 1951, and is by Bernard A. Miller. The stalls include three seats with misericords depicting a dolphin, a bearded face and a pelican.
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Designed in early Neo-Gothic Revivalist style, the building combines sandstone with limestone dressings. The tower over the main door was added in 1869, designed by John Benson. The original altar was fashioned in wood by Italian craftsmen in Lisbon. In 1821, John Hogan carved twenty-seven statues in wood for the reredos behind the high altar.
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Inside the church the arcades are carried on slender quatrefoil piers that have capitals carved with foliage. The nave has a hammerbeam roof. The sanctuary floor and the reredos date from 1930, and were designed by Bernard Miller. The stained glass in the apse appears to be contemporary with the church, and was possibly designed by Hardman.
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The following quote was taken from the obituary for Hitch in "The Times": > Mr.Nathaniel Hitch, who died in London on Friday at the age of 92, was a > notable craftsman and sculptor. A native of Ware, in Hertfordshire, he came > to London at the age of 14 and for over 70 years he worked continuously. He > was responsible for the entire decorative sculpture in Truro Cathedral when > it was built 50 years ago, the reredos and sculpture to the screen in > Bristol Cathedral, the great reredos at All Saints’ Church, Hove, and the > statues which complete Street’s screen in the Chapel of New College, Oxford. > His later work included the recumbent statues of Bishop Satterlee and Bishop > Harding, both in Washington Cathedral, U.S.A. and of Bishop Owen in St > David’s Cathedral.
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Main reredos The main altar has a Retablo with sculptures of the evangelists Mark and Luke, and two saints. Some panels depict the Fathers of the Roman Church (Augustine, Ambrose, Hieronymus, and Gregory the Great). The central panel has a statue of St Andrew replacing the original painted icon, and it is topped by an 18th-century canvas of the Immaculate Conception.
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The chapel also contains a rood screen, windows in memory of Egerton and the Boer Wars, and monuments to the school's war dead. The reredos was designed by Bucknall in 1912. The smaller Liddon Chapel, adjacent to the main chapel, is used as a classroom. Bloxham School has four large playing fields, three of which are used for cricket in the summer term.
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The west window contains stained glass from 1887 by the Kempe studio. Stained glass by Clayton and Bell was installed in the east window in 1869. At about the same time Heaton and Butler executed the paintings on the ceilings, and a mosaic reredos by W. B. Simpson was installed. The two-manual organ, made by Nicholson of Worcester, was purchased in 1870.
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There is a gallery on three sides of the church, supported by octagonal columns. On the west gallery are the royal arms of George I. The ceiling is flat and contains ribs and bosses. Between the chancel and the vestry to the north and the organ loft to the south are two-bay arcades. The reredos and pews date from 1874.
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As at Salisbury, the columns are detailed with Purbeck shafts. The east end has a group of five simple lancet windows, stepped to fit the arch of the vault, which is richly decorated with paint. The floors are black and terracotta tiles. Behind the altar, with its brightly coloured modern embroidered frontal, rises a 19th-century reredos, designed to harmonise with the windows.
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Much of the church's carved woodwork resembles and is contemporary with the work of Grinling Gibbons, showing traces of his style. The great reredos is the best candidate for his work similar to his work at St Mary Abchurch. Its dimensions were included in Wren's plans, its carving original 17th-century work. The paintings are from its renovation in 1870.
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As mentioned earlier, the back addition to the church is covered in permastone. The round arch is used throughout the church. It is found in the stained glass windows, the vault of the ceiling, and on the reredos in the apse. It is also found on the main entrance into the church, which is capped with a fan-shaped tympanum.
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The hipped roof is pierced by triangular vents and topped by a cross. Inside, the sanctuary has a hammerbeam roof with trusses of dark stained wood. Plaster walls, original pews, a lectern with brass eagle and stained glass from different periods complete the trim. In the chancel are a marble altar originally from another church and an elaborate oak reredos.
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It has been suggested that this represents either Queen Maud, or Margaret of Navarre. In the roof of the tower are carvings of three elongated wingless angels. The oak altar rail dates from the late 19th century, and is ornately carved with grapes and vine leaves. The reredos is also from the 19th century and consists of five arched panels containing tracery.
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The church has at least one Tiffany window. Presumably since the 2003 merger, the interior has been significantly redecorated and painted with many of the transferable art objects of Our Lady of Guadalupe parish moved here. The reredos has been painted with many scenes of Our Lady of Guadalupe and the Blessed Juan Diego, and the modern Basilica of Our Lady of Guadalupe.
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A very early photograph of the church interior shows this cloth-covered construction still in place. The photograph is preserved in the archives at St Peter-in-Ely. For a reproduction see Symondson and Bucknell, Sir Ninian Comper (2005) p. 28 Later removed, it seems from the photographic records of the church never to have been replaced by any more solid reredos.
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Wise married Caroline Louisa Lyon in England shortly before leaving for Australia. She was a sister of the architect Thomas Henry Lyon who designed St George's Church, Goodwood and the reredos for St Peter's Cathedral. She died of a fever in the Philippines on 21 May 1900 while en route to London. They had no children and Wise never remarried.
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In 1871–73 the church, apart from the tower, was rebuilt by the Lancaster architects Paley and Austin at a cost of £8,738 (), providing seating for 710 people. James Fraser, Bishop of Manchester reconsecrated the building in February 1873. In 1890, the successors on the Lancaster practice, Paley, Austin and Paley, refitted the chancel, including the provision of an altar and reredos.
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The 1959 addition appears to be a Modernist interpretation of what was originally intended. It has amber glass hopper windows with external concrete screens to the nave. The west entry consists of a large recessed pointed arch with undistinguished mosaic artwork to both the interior and exterior. The floors are of concrete and the building features carved timber pews, reredos screen and pulpit.
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Within the city centre, the Basque-style Gothic church of San Pedro can be found. It has a temple with a magnificent reredos by Juan de Antxieta, the only work by this Basque sculptor found in Gipuzkoa. Zumaia is located at the point where the Urola and Narrondo rivers come together. The origins of the town can be traced by its ancient monastery.
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Inside the church is a west gallery carried on Doric columns. The two-bay transept arcades have round-headed arches with painted soffits. The ceiling is flat, and there is an elliptical sanctuary arch. The reredos has a blind arcade with four Corinthian columns which is lavishly painted and gilded, including roundels, and a central lozenge containing the Virgin Mary.
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The church includes stained glass windows created by H. L. Willet, DeRaniere Studios of Detroit, and by the Detroit Stained Glass Company. The interior is constructed of limestone, with a flagstone floor. It boasts fine wood carvings, with the reredos crafted by London's Mowbray & Co., Ltd. and the rood beam and other pieces by J. Jungwirth Co. and Pom-McFate Co. of Detroit.
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The tiles in the sanctuary are thought to be Minton encaustic tiles; the tiles elsewhere in the church are black and red. The organ was built by Henry Willis and installed in 1876. Additional stops were added to the organ in the early 1920s. The frontal of the altar and the reredos were made of carved oak by E. H. Sankey in 1957.
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There are fragments of Norman zigzag carving incorporated in the wall above the north transept, and in the west wall of the north aisle. The reredos dates from 1926, and is by Caröe. The altar rail dates from the late 17th century, and is carried on balusters. The pulpit has been reduced from a three-decker and is dated 1721.
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Interior of the Cathedral The cathedral was built in a Romanesque style and is noted for its stained glass windows, the ornate high altar and reredos, the balustrade at the staircase in the front entrance, the bell tower topped with a dome and the use of red brick for the exterior. The cathedral was later expanded when a west wing was constructed.
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Reredos embroidered by Percy Sheldrick in the Lady Chapel The church has six bells hanging in a 15th- century frame in the tower. The second bell, cast in 1694 by Charles Newman, is the oldest. The fifth was cast by Robert Taylor of St Neots in 1808. The remaining bells were cast by John Brian of Hartford between 1787 and 1817.
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The nave has a scissor-braced roof, and the roof of the chancel is arch-braced. The reredos is elaborately carved. The altar is supported by marble columns, and the altar rail is in alabaster with green marble columns. The church contains a family pew for the Gillows at the northwest end, and elsewhere are box pews carved with poppyheads.
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Internally the plaster and wooden reredos depicts the Last Supper in a Gothic gilded setting. The authors of the Buildings of England series describe the interior as being "altogether interesting, with a primitive look", commenting in particular that the two sides of the chancel are different. The main entrance to the church is now through the west extension to the church.
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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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A continuation of this screen leads to the pulpit: this is also constructed in alabaster with Devonshire marble columns. The reredos and the font are also made in alabaster. The benches in the nave and chancel are in walnut and have carved ends. In the chancel is a recumbent effigy in alabaster of Constance, 1st Duchess of Westminster, by Joseph Boehm.
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At the crossing is a large octagonal flèche. In the chancel are a sedilia, a piscina, and a carved reredos. The windows contain stained glass by Kempe. The two-manual pipe organ was made by Nigel Church, and was previously in St Mary Magdalene's Church, Hucknall, Nottinghamshire, and was installed in the chapel in 1994 by David Wells of Liverpool.
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The interior is limewashed, and features numerous engravings on the walls, dated to the 17th and 18th centuries. The chancel stalls, of oak, and the desk and pulpit date to 1958. William Clarke of Llandaff was hired for wood carvings in the sanctuary; he added the reredos in 1908. St David's Church became a Grade I listed building on 26 July 1963.
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At the west end is a baptistery in a canted apse. The interior is "spacious" and has a high-quality roof of open timberwork; Blomfield's churches have characteristically good woodwork. Fittings include Heaton, Butler and Bayne stained glass windows, an "impressively ornate" wrought-iron rood screen and an intricate reredos with marble mosaic work. The pulpit is of stone and wrought iron.
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Internally there is a piscina in the chancel and in the south transept. The reredos is a mosaic depicting Saints Peter and Paul. The sanctuary is paved with mosaic, and the communion rails are brass. The carved pulpit has Frosterley marble shafts with arcading, the lectern is a carved stone eagle, and the font is octagonal on an old base.
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Baptismal font (1907), Washington Memorial Chapel. Architect Milton Bennett Medary designed the Washington Memorial Chapel (1908–20), built on the site of the Continental Army's 1777-78 encampment at Valley Forge. Executing Medary's designs, Maene created and carved the oak pews, choir stalls, reredos, and other church furniture. The first piece carved by Maene was the limestone and oak baptismal font.
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The chancel has oak panelling with carvings of sunflowers. The reredos contains representations of the Agnus Dei and Alpha and Omega signs. The right hand chancel window is to a design of Burne-Jones and was made by Morris and Company. In the church is a parish chest dated 1684 and a number of wall memorials dating from the 19th century.
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The eastern apse extends the width of the choir and is the full height of the main arches across choir and nave. It is decorated with mosaics, in keeping with the choir vaults. The original reredos and high altar were destroyed by bombing in 1940. The present high altar and baldacchino are the work of W. Godfrey Allen and Stephen Dykes Bower.
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Due to falling attendances the Church closed for worship in 1999 and ceased as a Parish in 2002. It is now the Orthodox Church of the Nativity of the Mother of God. The eagle lectern formerly of this Church is now relocated in the Lady Chapel at St Gabriel's Church, Fullbrook. The Reredos are now located at St Stephen's Wolverhampton.
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The carved marble font and limewood reredos are both notable examples of the work of Grinling Gibbons. In 1902, an outside pulpit was erected on the north wall of the church. It was designed by Temple Moore and carved by Laurence Arthur Turner. It was damaged in 1940, but restored at the same time as the rest of the fabric.
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She hired the architect George Fredrick Bodley to build the church and was in charge of the furnishing within it. The church is decorated with marble flooring, reredos, screens and a front cover. Emily also added several souvenirs from her travels. She also commissioned the buildings of the churches St Edwards in Holbeck (Leeds) and Altofts using her own expenses.
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The bays along the sides of the nave are divided by buttresses, and each bay contains a lancet window. There are triple lancet windows at the east and west ends of the church. Inside the church is a gallery at the west end carried on cast iron columns. The reredos contains Gothic arcading and a carving of the Last Supper.
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In the chancel is a sedilia. The reredos of 1930, the altar of 1937, and screens of 1919 and 1921 were designed by F. H. Crossley. Most of the stained glass was made in the early and mid 20th century by William Morris of Westminster. The west window of the north aisle is dated 1950, and is by Trena Cox.
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The large sculpted reredos was installed in 1879. Also in the apse are mosaic panels, and the chancel is floored with encaustic tiles. The stained glass includes windows by C. E. Kempe with depictions of saints, leaders of the church and Sir Philip Sidney. The three-manual pipe organ was made by Hill and Son, and rebuilt in 1895 by A. Young.
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The roof trusses sit on the unfinished stone block brackets. The reredos (panels behind the Holy Table) is fixed up against the internal stone wall. The windows to the nave and transepts all have Gothic paired "cusped lancets" with stained glass windows. The doors are generally double timber ledged framed doors with cover strip made to fit the Gothic arches.
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These include depictions of saints on the south wall of the chancel, and stencilled designs on the ceilings of the aisles. The pulpit is also highly decorated, with mosaic panels, and there is also mosaic in the reredos. The west window and in the windows of the apse contain stained glass. The glass in the apse was designed by Hardman & Co.
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There was controversy before the church was consecrated because Bodley intended to use an early 16th-century altarpiece from Antwerp which had carved tableaux of the Passion as the reredos. However the Bishop of Chester considered it to be too "Popish" and he refused to consecrate the church until it was removed. The altarpiece is now in St Michael's Church, Brighton.
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It was built between 1900 and 1902, thanks to a donation in memory of John Nicholas Brown I by his widow, Natalie Bayard Brown. Brown donated the reredos and murals in 1921 in honor of Armistice Day. In the early 1930s, E. Power Biggs served as its organist. It was added to the National Register of Historic Places in 1996.
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The top displays moulded string courses and a trefoil pierced triangular parapet with gargoyles and corner pinnacles. The belfry stair is in the south-east turret. The interior includes stone busts to John Locke and Hannah More dating from the early 19th century on either side of the door. The chancel has Gothic reredos by Charles Barry dating from 1832.
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In the south wall of the chancel are a sedilia and a piscina. The chancel arch has a low wrought iron screen by Kempe and above the arch is a painting also by Kempe. The circular font dates from the 19th century. The altar and the timber reredos are made from re-used wood from the roof of Chester Cathedral.
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Inside the church is an inscribed octagonal font carried on a squat round shaft. The chancel contains panelling, and there is a reredos behind the altar. The stained glass in the east window dates from 1916, and is by Powells. On the south wall are three windows dating from about 1910, designed by Revd E. Geldart and made by Taylor and Clifton.
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It shows Our Lord holding out His hands in invitation while angels stand or kneel on either side. Organ A two-manual instrument by Vowles of Bristol. Built in 1873, it now has electro-pneumatic action with 21 speaking stops. Lady Chapel The oak reredos and communion rail were given in memory of Lt. Fitzroy Charles Phillpotts, who fell at Gallipoli in 1915.
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Lady Anne's monument was created during her lifetime in about 1655–57 (she died in 1676). It is in black-and- white marble, with no effigy but a reredos with a family tree consisting of shields. Also in the church is a 14th-century female effigy. The two-manual pipe organ was built in 1661 by Robert Preston for Carlisle Cathedral.
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98, note 28. There he painted the reredos of the English Church, and other work in the Chapel of Marlborough College.Obituary, The Annual Register: A Review of Public Events at Home and Abroad 1908 (London 1909), p. 133. In 1873, he bought the Villa Nuti in Florence, where he was visited frequently by De Morgan and where he lived until his death.
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The furnishings in the choir, dating from 1927, are decorated with finely carved figures of angel musicians and saints. The integral pulpit is in red sandstone and is carved with saints under canopies and foliage. The Actors' Chapel forms part of the north aisle. Its reredos is painted with figures representing singers, dancers, entertainers and Saint Genesius, the patron saint of actors.
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In 1904, numerous changes were made to the church. The rood screen was moved and replaced by altar rails made of alabaster. A new reredos was installed and the clock in the tower was replaced.Church of the Immaculate Conception from Historic England, retrieved 24 May 2016 In 1947, a stained glass window, made by Hardman & Co. was installed in the south-east chapel.
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Construction on the cathedral was completed in 1889. The exterior is composed of Anamosa Limestone and the twin spires on the main façade rise to a height of . The painting of the Crucifix on the reredos behind the altar was painted in 1873 by the Spanish artist Yzquierda. It was purchased by Bishop Spalding and originally hung in the old cathedral.
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The Greek columns were painted a sandstone orange, with an elaborate color scheme of brown, red, and yellow ochres dominating the rest of the nave. The chancel was dominated by a black walnut reredos. A small stained-glass window of St. Paul stood above the high altar. English Minton tiles adorned the aisles and chancel that complimented the color scheme of the church.
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The altar, which was fairly new, the reredos, the organ, the carved choir stalls, a Tiffany window, and the bishop's chair were destroyed, but the baptistry was spared. Vestments and other fabrics were smoke-damaged. The total loss was estimated at $75,000. The interior of the church dates from 1950, rebuilt after the fire by architectural firm Maurey Lee Allen.
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In the early history of Christianity it was considered the norm to pray facing the geographical east. From the middle of the 17th century, almost all new Roman Rite altars were built against a wall or backed by a reredos, with a tabernacle placed on the main altar or inserted into the reredos. This meant that the priest turned to the people, putting his back to the altar, for a few short moments at Mass. However, the Tridentine Missal speaks of the option of celebrating versus populum,Latin versus does not mean "against", as does English versus; it means "turned, toward, from past participle of vertere, to turn" (The American Heritage Dictionary of the English Language, Fourth Edition, 2000 ) and gives corresponding instructions for the priest when performing actions that in the other stance involved turning around in order to face the people.
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Marian devotion is an important part of the spiritual life of the parish. On the Feast of St. Thomas the Apostle on July 3, 2005, Bishop Sergio Carranza, with the assistance of Frs. Davies and Stuart, placed a primary relic of St. Thomas, the church's patron and protector, along with relics of Saints Barnabas and Matthias the Apostles, Ss. Mark and Luke Evangelists, Ss. Augustine of Hippo, Bonaventure, Thomas Aquinas, Gregory the Great, Jerome, Doctors of the Church, Ss. Ignatius of Loyola and Rafqua in the mensa of the high altar of the church. During the last week of December 2011, the original reredos had been found and installed in the Lady Chapel, and the current reredos has been moved to the physical east wall completing the Lady Chapel and was announced at the Mass on January 1, 2012.
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Talbot House was established in 1915 by an Australian-born Army chaplain, the Revd P.B. (Tubby) Clayton. The name Toc H is derived from the signaller's code for Talbot House, and it was the work of Talbot House which provided the inspiration for a movement which after the Great War was subsequently to spread to all countries of the former British Empire with its message of lifelong striving to put into practice a Christian way of life and to build a better world. The memorial theme was continued in the reredos of the Toc H carpenter's bench. The reredos, comprising two panels of St Christopher painted by the English artist Daphne Allen, was given to the cathedral in memory of her cousin Colonel G. G. Short, who had been a synodsman and vestryman at the cathedral.
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The Chapel of St James font made in 1914 The pulpit is typically 17th-century The stone and marble reredos made in 1878 The Chapel of St James in the South Transept is named after the demolished chapel at Torrington Castle, and was furnished as a memorial to Frank Emlyn Jones, Vicar 1894-1934 and latterly Archdeacon of Barnstaple. This is where the original tower stood before the rebuilding of the early 19th-century. The chapel altar is 17th-century, while the figures on the reredos are (from left to right): St Michael (for Great Torrington), St Giles (for Little Torrington), St Mary the Virgin, St James, St Mary Magdalene (for Taddiport), and St Gabriel (for St Gabriel's Mission in the town, which no longer exists). The oil painting above the altar is a copy of Caravaggio's 'Ecce Homo'.
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Lateral bay paintings by Lamprecht of Munich and reredos During the 1880s, Lamprecht of Munich installed painted scenes from the life of Christ above the arches of the bays. The series of paintings continues into the sanctuary; they are in the style of the Overbeck school of art. Fourteen images of the stations of the cross, carved from wood by Italian craftsmen, were installed in 1871.
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During the Pueblo Revolt, the statue was removed, but returned in 1693 during the peaceful return of the Spanish settlers. She was renamed La Conquistadora in honor of what was believed to be her peaceful acceptance by the natives. Behind the statue is a reredos, a mural style from Spain, which depicts various saints. During a recent (2000–2009) restoration, an older painting was found.
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The former All Saints Church was built in 1896 and now serves as the Synod Hall. The rose window in the former choir loft contains symbols of the Holy Trinity. The former reredos in the back of the room contains the seal of the diocese and the shields of the Apostles. Images of saints and leaders of the church are depicted in the stained glass windows.
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Beneath the North transept is a square space which may once have served as a Priest hole. The altar dates from 1969 but uses scrolled legs featuring winged cherub heads from the 18th-century original. Behind the altar is a 20th-century reredos which is topped by 18th century carved figures of Saint Jerome, Saint Ambrose, Saint Augustine and Saint Gregory which support a Spanish Ivory crucifix.
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The east window and new pews were added during this time. In 1895, the south aisle was demolished and rebuilt in the Gothic revival style. In 1912, a new carved-oak reredos was added, depicting Jesus Christ and the twelve apostles. In 2013, the church received a grant from Kirklees Borough Council for £25,000 to build exterior lights to illuminate the church at night.
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In the apse is a large pyramidal reredos with the heads of the Twelve Apostles and Christ in relief. In the Lady Chapel is an altar with a statue by Herbert Tyson Smith of the Virgin Mary with St John Fisher. The baptistry contains a stone font, also by Herbert Tyson Smith, on a marble base. The font has a pyramidal cover with a cross finial.
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Both of these windows are by Wailes. A third window is by Frampton in memory of Canon Royd's son, a lieutenant in the Royal Navy who died of wounds in 1884. The altar was given in 1912 in memory of Albert Lowe and the carved oak reredos was given in the same year as a memorial to Catherine Hughes. The communion rails date from 1833.
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In the St. Paul's reredos case in 1889 he differed from Lord Coleridge, and his judgment was sustained by both the court of appeal and the House of Lords. Pollock was vice-president of the Rochester Diocesan Association, a member of the Commons' Preservation Society, and of the Board of Conservators of Wimbledon Common. He died at his residence, The Croft, Putney, on 21 November 1897.
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The contract survives, and shows that it was made in 1470 by John Stowell. It was destroyed during the Reformation or Interregnum, but the outline of the figure of Jesse is still visible, and many fragments of sculpture also survive. Christchurch Priory, Dorset. Christchurch Priory contains a boldly carved reredos in high-relief of the 1350s in the form of the Tree of Jesse.
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Of the fifteen windows the college received from Morris & Co., twelve were designed by Burne- Jones and three he made with Morris. Burne-Jones used some of designs he had previously created for the windows showing saints Agnes, Celia, Catherine, Dorothy, and Margaret. All of the others were made specifically for the college. In 1886, the reredos behind the altar in the chapel was installed.
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Most of the church was built in 1886 after most of the previous church had been demolished. The tower from the 15th century was preserved. On a wall in the back of the church room there is a reredos from the 15th century. It was stored at the Kulturen museum of cultural history in Lund, but has now been moved back to Västra Hoby Church.
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The former reredos dating from 1725 is now at the west end of the church. The brass lectern commemorates three brothers who died in the First World War. There is a ring of six bells. Four of these were cast in 1727 by Abraham Rudhall II, one was cast in 1811 by John Rudhall and the sixth was cast in 1865 by Mears and Stainbank.
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The entrance colonnade passage by Hansom (1894) is unique in English churches. Other features include bronzes of the Redeemer and St. Peter by Mayer (1872), The Holy Face, after Lorenzo di Credi, 1895 and J. M. Swynnerton's Pietà (1896). The magnificent Gothic Reredos were unaccountably removed during a 1970s refurbishment. The organ is by Henry Jones, built by Grant, Degens and Bradbeer in 1968.
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The statues in the reredos include the Sacred Heart in the center and it is flanked by Saint Patrick and Saint John the Evangelist. A bas-relief of the Last Supper is on the former altar frontal. There are also numerous other statues throughout the church. The church is set back from the street and is located in a park-like setting with mature vegetation.
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The entire building was heavily restored in the 1860s, and the tower is dated 1865. Further restoration was undertaken in the 1880s, through gifts by Sir John and Lady Adela Searle after they came to live at nearby Wonastow Court. They also provided a new porch in 1909, and a rood screen and reredos in 1913, as well as stained glass windows and a new altar.
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The interior features columns that support the nave which are made from red Scagliola marble. The cathedra is situated at the centre of the sanctuary, surrounded by an oak altar-piece and two towers of reredos. In total, the dimensions of the church building are long, wide and tall, with the taller steeple rising to . Over the years, the cathedral has undergone a series of renovations.
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The interior has a Victorian stone reredos with a pannelled screen from 1923 forming the vestry. The fan-vaulted screen with the remains of friezes was originally made for St Audries Church in West Quantoxhead in the 15th century and moved to Exford and reassembled in 1929. The parish chest is from 1772. The organ was designed by Ninian Comper and presented to the church in 1924.
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Most of the furnishings are by the Bromsgrove Guild, and some were designed by Matear. The reredos of 1921 has an elaborately carved frame and contains paintings by Sidney Meteyard with Walter Gilbert. The rood screen incorporates the pulpit and a tester, and is carved with a vine frieze, birds and snails. The furnishings in the choir are also carved and include dragons, ravens, and trumpeting angels.
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It is surmounted by a scallop shell. The crystal chandelier, a gift from the Glass Sellers' Company, is a replica of that destroyed by the crashing crane in 1991 and is based on an 18th-century original hanging in Wren's Emmanuel College, Cambridge. The reredos is original, with Corinthian columns flanking a Decalogue and supporting an entablature. The pediment was removed in 1815 to accommodate the painting.
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The church has a reredos made from carved alabaster thought to be from the Blue John mines in Derbyshire, timber pews and a baluster font from the old chapel. Some of the stained glass is by Shrigley and Hunt. There are several 18th and 19th-century wall plaques. A window made of painted and fired porcelain over the font is from the old Peel Chapel.
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In the corresponding position on the south side is a brass eagle lectern. The marble reredos behind the high altar is carved with a depiction of the Annunciation. Above this is a copy of part of Raphael's painting Transfiguration of Jesus. In the south aisle is St John's Altar, which was moved from the mission church of St John when it closed in 1941.
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Wall painting in the Tait chapel The Tait chapel at Fulham Palace, the fourth on the site, was designed by William Butterfield for Bishop Tait in 1866-7. It is dedicated to the Blessed Trinity and it cost £1869. Damaged by a bomb in World War II the chapel was reorganised in the 1950s for Bishop Wand. The Salviati mosaic reredos was moved to the west end.
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The pulpit of 1882 has been reduced, and the reredos has been removed. In the east window is near-abstract stained glass made by Shrigley and Hunt. There appear to have been two 19th century pipe organs in the building which were removed before 1900. There is a reference to the church wanting to dispose of an organ in the 1860s because it was too loud.
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The Church of St John the Baptist in Wellington, Somerset, England, dates from the 15th century and has been designated as a Grade I listed building. A church on the site was previously dedicated to St Mary the Virgin. The tower was built around 1510. The Reredos from St John's Wellington at the Museum of Somerset in Taunton Castle The current organ was rebuilt in 1997.
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The reredos and rood-screen date from 1889, a later addition by George Frederick Bodley; the artist was Charles Edgar Buckeridge. The paintings on the Bodley organ case were done by John Roddam Spencer Stanhope. On 16 December 1914, the church was one of many buildings in Scarborough which were damaged during the German bombardment of the town. The raid took place just as the 8.00 a.m.
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A decorative frieze of serpentine foliage is set at the top. Above the reredos is the Perpendicular-style three-light east window with 19th-century stained glass. The north chapel contains a parish chest of wood held with metal straps, in the east wall a piscina with moulded and pointed surround, and against the north wall the church organ. The south chapel piscina is ogee-headed.
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The ceiling is coloured blue, red and gold, with deep coffering around the light fittings and the floor of the body of the shrine is tiled. The sanctuary is raised and approached on marble steps through a round arch; its floor is travertine with mosaic panels. The altar rails are bronze with an Art Deco design. The altar reredos was carved by David John.
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St. Boniface Church was designed by Dubuque architect Fridolin Heer in the Romanesque Revival style. The workers baked their own bricks on site to build the church. It follows a rectangular plan and features a central bell tower capped with a spire, and three entry doors across the main facade. At one time the interior was richly decorated with a reredos behind the altar, statues, and stenciling.
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Pugin's design was in the decorative English Gothic of the late 13th – early 14th centuries. Féret, the chronicler of Fulham, describes in detail the interior of the building, emphasising the reredos of the two side chapels carved in Caen stone and the striking stained glass windows. The north west tower and pinnacled steeple rises to 142 feet and faces the small cemetery opened in 1849.
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The original temporary church at Braybon Avenue became a church hall for Christ the King's congregation, and All Saints Church gained its own hall in 1937 when Mackie Hall was built on Mackie Avenue. It was closed in 1995. Another round of restoration took place in 1989. The interior was redesigned, and a reredos was made out of old choir stalls which had been removed.
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Clarke, Garth, Michael Cardew, London: Faber and Faber, 1976. . While Dean of Winchester Kitchin was responsible for refurbishments within the Cathedral, most notably the restoration of the mediaeval reredos behind the High Altar, usually known as 'The Great Screen'. The restoration was initially entrusted to the architect J D Sedding. However, Sedding's design for the scheme did not meet with general satisfaction and was not implemented.
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The reredos includes the Ten Commandments to the north of the altar and the Lord's Prayer and the Creed to the south. The carved oak pulpion a stone base and the oak eagle lectern date from the 19th century. The font has a Norman bowl with lead lining set on a 19th-century base. It consists of a round bowl carved with figures, and simple ornamentation.
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It was designed by the architect James Piers St Aubyn. The construction is of coursed rubble with ashlar dressings and weathered buttresses. The roof is tiled, and the church has a five bay aisled nave with a short transept. The interior includes a painted arcade, a rich five-window apse, and mural mosaics, the finest of which is a glass mosaic reredos depicting the last supper.
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In 1963, Rawlings reported a plaster line indicating that the original wainscoting was taller than that installed in the nineteenth century restoration.Rawlings 242 This is apparently corrected in the recent repairs. The elaborate reredos contains a central tablet bearing the Lord's Prayer, the Decalogue, and the Apostles' Creed in modern gold lettering on a black background. The cornice and cross are modern additions rather than colonial features.
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The top of the tower is crenellated and the bell openings have straight heads. Internally the arcade has octagonal piers. The transverse tower arches are almost circular and have continuous chamfering. The furnishings are in "characteristic Douglas" style and include not only the reredos, organ case, stalls, pulpit, lectern, font cover and pews, but also the hymn board, the alms box and an umbrella stand.
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The reredos is in alabaster and contains niches with statues of the Virgin Mary, Mary Magdalene, Mary of Bethany, Saint John, Nicodemus and Joseph of Arimathea. The octagonal pulpit is in Caen stone on a pedestal of Derbyshire marble. The font is square and has a circular bowl. It is made in serpentine from The Lizard and is carried on a pedestal of Aberdeen granite.
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The reredos of 1897 is by A. O. Hemming, who also executed paintings on the chancel walls and ceiling in 1899. The original pipe organ was made in 1891 by Hele and Company, and was repaired by the same company in 1910 following damage caused by a gas explosion. This organ was replaced in 2006 by one moved here by David Wells from St John's Church, Egremont.
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Inside the church the five-bay arcades are carried on round piers of polished granite. There is a low chancel screen, and a richly carved octagonal timber pulpit with a tester. Between the chancel and the chapel is a three-bay arcade with a parclose screen. The timber reredos is richly carved, and includes a panel in tile and mosaic of the Good Shepherd.
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The authors of the Buildings of England series describe the interior as "superb", particularly in the way that the visitor experiences "increasing richness" when "progressing eastwards". There are arches at the entrance to the chancel and the sanctuary. The reredos is in alabaster, and depicts a relief of the Resurrection; this is surrounded by angels in niches. The pulpit is in alabaster, and has pierced panels.
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Reredos in St Marys Episcopal Cathedral, Edinburgh Grant was born in 1831 in Kilgraston House in Perthshire, into a very well-connected family. Her grandfather was Lord Elgin of Elgin Marbles fame. Her aunt and uncle were Mary Anne Grant and Sir Francis Grant, both artists, the latter being President of the Royal Academy. Another uncle was General James Hope Grant, a British military hero.
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The carved reredos containing eleven saintly figures, Stations of the Cross including St Mary Madeleine Sophie Barat. The nuns ran a fee-paying school for girls from wealthy families. The school had an excellent reputation, and one of the pupils was Princess Marie Louise, (1872-1956) granddaughter of Queen Victoria. The successful film director Herbert Wilcox (1890–1977),Argus, 25 August 1988 was another pupil.
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Construction began in 1946 when the old cathedral was enlarged and the brick exterior refaced in orange Tennessee Crab Ochard Sandstone. The architectural firm of Stickle, Kelly and Stickle oversaw construction which also included a new bell tower and interior decoration. However, the tower held no bells until 1988. John W. Winterich and Associates supervised creation of a new reredos and other interior decoration.
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At the east end was a shallow recess, containing th reredos, with the Royal Arms above. The steeple, completed 14 years later, was the work of Nicholas Hawksmoor."The London Encyclopaedia" Hibbert,C. ;Weinreb,D.; Keay,J: London, Pan Macmillan, 1983 (rev 1993,2008) The tower was square in plan, the top storey having three arched openings on each side, each with a finely carved mask keystone.
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All these windows contain simple Perpendicular-style tracery. On each side of the vestry is a flat- headed two-light mullioned window. Inside the church are a Perpendicular-style reredos, an octagonal font, a brass lectern, and a brass chandelier. The two manual organ was installed in 1964, having been moved from a Congregational church in Warrington; it was made by Hall of Kendal.
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A new reredos and altar were added in the early 20th century. Following amalgamation of the parishes of St Margaret and St Peter, St Margaret's again became a chapel of ease. Severe damage to the roof in the storms of 1987 and 1990 added to existing consideration of its closure. However local efforts have kept the building viable and over £100,000 has been spent on internal improvements.
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In the south aisle is the octagonal 15th-century font. This was removed from the church in the 17th century to be used as a horse trough, but was returned to the church when the horses refused to drink from it. In the chancel the reredos designed by Bodley measures high by wide, and depicts the Crucifixion. On the sides of the chancel are 15th-century screens.
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John Betjeman described St Peter and St Paul's church as "a typical town church with four-aisled nave, rather dark and dusty". Features of interest include the free-standing bell tower, a wall monument by Joseph Nollekens, and the reredos of 1885 which was designed by William Bassett-Smith and executed by Salviati.Bedtjeman, J., ed. (1968) Collins Pocket Guide to English Parish Churches; the South.
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The building was consecrated on 25 July 1902 (the Feast of St. James), fifty years after consecration of the original church building. The building cost approximately $35,000. Altar and reredos The exterior uses gray dolomitic limestone as the main material, with lighter Bedford limestone as trim. The interior walls of the nave and chancel are of carved Flemish oak, and the interior height is 48 feet.
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The altar rails date from about 1700. The reredos is panelled and dates from about 1926. Also in the chancel is a memorial to the First World War. The stained glass in the north and south windows dates from the 20th century, and depicts Archbishop Laud and Charles I. At the west end of the church is a gallery with carvings of five shields of arms.
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Internally the timber hammerbeam roof is carried on terracotta corbels. There is much decoration, with friezes, ball-flowers, foliage, inscriptions, panels, and blind arcades, all in terracotta. Behind the altar, forming a reredos, are niches, and panelling incorporating the words of the Ten Commandments, the Creed, and the Lord's Prayer. Terracotta also forms the pew ends, which are decorated with poppy heads, and the organ case.
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A lofty nave runs between the western door and the marble chancel steps. Beyond this is the chancel, flanked by a vestry and an organ chamber, while the sanctuary contains the altar and reredos. The sides of the nave are marked by granite columns with rounded capitals, with a series of lancet arches supporting the clerestory roof. These give way to two matching aisles.
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The interior was partly converted to Coptic Orthodox liturgical use. Unusual aisled roof structure, wooden trusses rising from posts set on the very tall slender marbled columns with Corinthian derived capitals, which also support the high round arches of a wooden arcade; painted boarded ceiling. Wide moulded reredos arch and gallery. Rear raked gallery with curved and panelled front; pews on both floors retained.
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Internally there is a much- restored hammerbeam roof. Rev. Joseph Hooker Toogood, who was the incumbent from 1907 to 1946, was responsible for much of the woodwork in the church. Richards quotes a letter from him dated 1946 in which Rev Toogood stated that he made improvements to the chancel screen. He then made a new altar, the reredos and panelling for the sanctuary.
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Between 1960 and 1966, the floor was replaced, the stained glass around the nave was removed and a meeting room was built on the north side of the church, and designed by the architectural firm, Reynolds & Scott. In 1989, further reordering was carried out. The high altar and reredos were moved to the north chapel. The north chapel then was renamed the Blessed Sacrament Chapel.
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The south chapel is the Lady Chapel. Its screen of 1904 and reredos of 1904 were designed by G. F. Bodley. The ambulatory runs round the apse and is divided from the sanctuary by an arcade with statues of angel musicians in the spandrels. Above this is a frieze in high relief depicting the Adoration of the Lamb, and above this are statues of angels under canopies.
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The North door is called the Portal de Santa Maria, while to the South is the Portal del Juicio (Portal of the Last Judgement). The nave and chapels was rebuilt in Gothic-style. Construction lasted until the 13th-century. The main chapel has a retablo (reredos) by 15th-century artists consisting of 18 panels of the Life of Jesus and Mary, and others depicting prophets and apostles.
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There are more lancet windows at clerestory level around the chancel, with raised letting below. The tower rises only to the height of the eaves. It has a south doorway above which is a niche containing a statue of Mary, on the east side is a rose window, and there is a northeast stair turret. Inside the church, the reredos of 1895 is by Pugin and Pugin.
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Statues on the west front of Salisbury Cathedral Among his works are 60 statues on the west front of Salisbury Cathedral; the statues of the Apostles at Ely; groups of figures on the reredos and statues of saints in the south porch at Gloucester Cathedral;Gloucester Cathedral precincts accessed 20 February 2008 Our Lord in majesty in the chapter-house at Westminster; an elaborate reredos, representing the crucifixion, with the martyrdoms of St. Peter and St. Andrew, in St. Andrew's Church, Wells Street; the entombment in the Digby mortuary chapel, Sherborne; and Expulsion from Eden at St Leonard's Church, Bridgnorth in Shropshire.Shropshire by John Newman, Nikolaus Pevsner, p. 162, , accessed 19 February 2008 He also carved the four Christian and four moral virtues including Fortitude on the Albert Memorial in Kensington Gardens. He was the youngest sculptor employed and he was personally chosen by Scott.
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The cathedral is considered a fine example of 19th-century German Gothic design. The baptismal font was designed by local architect William L. Steele. The cathedral's sixty-one stained glass windows are from Franz Mayer & Co. in Munich, Germany, and were restored in the late 1980s. The reredos in the apse, the side altars, and Stations of the Cross are from the former St. Thomas Church in Emmetsburg, Iowa.
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A cross stands on the altar between two pairs of candles. The reredos displays a pair of peacocks - symbols of eternal life - under a crown in a Favrile glass mosaic. On the left front is the ambo flanked by two candlesticks. Off to the right is the baptistry its front bordered by four columns and its back showing the large colored glass "Field of Lilies" window repeating the columnar pattern.
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They damaged the medieval glass windows and removed some of the church furniture, including the organ. There have been few significant changes since that time. The church was restored during the 19th century by Anthony Salvin, and later, in about 1857, by George Gilbert Scott, who removed plaster from the walls and built a small gallery. During the Victorian era, the reredos and most of the stained glass were added.
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The only other example where stone was used on a grand scale is in the construction of San Juan Bautista, although only the ruins of a tower remain. alt=The nave of a church in three-quarter view and the left aisle with windows. The interior is dominated by white and bright orange colors. At the back, there is an altar with a statue surrounded by a five-paneled reredos.
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Since 2011 the interior of the church has been overhauled and refurbished. Notable items of beauty include a stained glass from the workshops of Pugin gifted to the parish by the Worshipful Company of Glaziers and originally housed in the Anglican parish of St. Andrew's Portslade and a reredos created by C. R. Ashbee of the Arts and Craft movement originally housed in the parish church of Shottermill.
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Most of the furniture and fittings were removed during restorations, but the two-tier brass candelabrum dating from the 18th century is still present. In the chancel is a Flemish reredos from around 1500 and a copper memorial tablet to Henry Hardware who died in 1584. The east window of 1892 is by Kempe. The west window was donated in 2006 and was designed by Fiona Banner and Roy Coomber.
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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 reredos, altar and choir stalls are also in oak. At the east end of the north aisle is an artificial stone font that was installed in 1947 as a memorial to the Second World War. The stained glass was designed by Carl Almquist and E. H. Jewitt of Shrigley and Hunt. The east window is a memorial to the founder of the church; it depicts the Last Supper.
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The communion rails, chancel rails, and pulpit were designed by Douglas and are of carved timber. The reredos consists of painted tiles, executed by Craven, Dunhill & Co. to designs by Heaton, Butler and Bayne. It depicts Christ breaking bread before Cleophas and Mary in the centre, St Michael on the left, and Euphrasia on the right. The only stained glass in the church is in the west window.
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It was situated on Woodborough Road. The patrons of the church were an Evangelical charity known as Hyndman's Trustees, who gave £2,000 to the building fund. The chancel and organ chamber were added in 1892-93 and consecrated by the Bishop of Southwell on 17 March 1893. It comprised a high dado of glazed Minton tiles, continued as a reredos over the altar, with ecclesiastical symbols executed in encaustic work.
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Reredos with cresting and canopy date from 1923. At the west end of the nave is one of the church's original box pews. The organ loft has a three-light mullioned window. There is a stained glass window of 1874 in the south aisle and the east window dates from 1927 incorporating some earlier glass and the Ridgway arms in the tracery at the head of the window.
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The old choir was converted into a sacristy, and the new entrance of the church was placed to the west with a porch in stone. A mighty reredos was added over the new altar depicting the mourning Marys and the crucifixion of Christ in the centre. Higher windows were added as well as the current pews. The characteristical bell tower was erected during the 1750s by Erik Olofsson i Rännberg.
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In the apse on the opposite side of the church is a carved white marble altar. The statue in the central tower of the reredos is that of Saint Peter, the church's patron saint at the time it was built. The lower level has statues of the Four Evangelists. The former altar frontal bears an image of the Lamb and the scroll with seven seals from the Book of Revelation.
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This dates from 1900 and may have been designed by Charles Eamer Kempe. Other stained glass was provided by the local firm Clayton & Bell. A new lychgate, reredos and altar were installed in 1913; all were donated to the church as memorials. Another new organ replaced its predecessor in 1939; this was in turn removed in 1972 in favour of a better model, which cost about £6,000 (£ in ).
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It contains an organ chamber and vestry, with a stone reredos installed in memory of the first vicar, John Bramell (1871–1897). A porch was built in 1981 at the southern end of the church, to replace an early predecessor. At the same time, a meeting room was built on the front of the building. In 1993, stained glass from St James's in Derby was placed in the east window.
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There is stained glass in the church - in the west window of the north aisle - by Clayton & Bell, 1862. The chancel was restored in 1864-66 by William Burges, who also added the reredos, the altar rails, and some stained glass. In the churchyard, there is a whipping post and stocks, west of the church. The post has manacles and stocks for three which have survived from 1787.
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The frame is stepped over the main reredos. Five white marble inner panels are separated by short half- octagonal red stone columns. There are Alpha and Omega symbolsAlpha and Omega are the first and last letters of the Greek alphabet, and a title of Christ or of God in the Book of Revelation. at each end and three long panels, two of vine and a centre passion flower.
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The High altar and stone reredos Pearson's design is a plain red brick exterior with two turrets at the west end which Pevsner describes as "typically Pearsonian". The -long church is cruciform, and the south transept was originally designed to carry a -high tower, which was never completed. Above the nave is a tall clerestory. The interior of the building is stock brick with arcades and brick rib vaulting.
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Above the reredos ia a painted dome in deep blue with gold stars and containing a dove. The altar rail is in alabaster, and dates probably from the late 19th century, and the statues are by Mayer of Munich. The stained glass dates from 1854, and is by Andrew Carter. The monuments include one to Catharine Hesketh, who died in 1809, and was a Benedictine nun who became abbess of Ghent.
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The church can seat 800 people. The arcades are simple, carried on piers without capitals. The furnishings were made by Hatch and Sons, the wood carving being by C. J. Allen, and the stone carving by J. J. Millson. The floor of the church is in black and white Italian marble, the pews, screens and reredos are in English oak, and the roof timbers in Canadian pitch pine.
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During this period, Sunday School enrollment was over 200. Austin Armitstead was pastor in 1957, and Max Mobley in 1961. The appearance of the altar area was enhanced by additions of a reredos similar to that of historic St. George Church in Philadelphia. In 1964 the 175th anniversary of the building was celebrated with a series of special Sunday services from September 20 - October 11, with guest speakers Rev.
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The chapels contain reredos by Palma il Giovane. The chapels are all similar in design, approximately six metres square, the front having an entrance contained in a segmented arch flanked by pilasters which support a pediment. The sides of the small buildings are pierced by lunette windows. The white rendered walls with decoration in natural dressed stone match the villa and church at the completion of the route.
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The southeast chapel has a painted ceiling and fittings dating from 1970 designed by Dykes Bower. The reredos, altar, stalls, and pulpit were designed by Deacon and carved by Harry Hems. The chapel screen of 1949 was designed by Bernard Miller and painted by Martin Bell. The stained glass in the east window is in the form of a war memorial; it dates from 1926 and is by Powells.
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As originally built, the interior was very plain: most of the fittings post-date it by several years. The Lady Chapel of 1930 in the base of the tower is elaborately decorated with a carved reredos and rood screen of stone. Stencilwork patterns cover the ceiling and walls, and there is a Madonna statue. The chancel and nave are separated by a chamfered chancel arch with moulded columns and simple capitals.
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The chancel screen which was initially constructed by Parson Hawker was removed after his death and then replaced in 1908. It is made from fragments of 16th and 17th carving. In the chancel is a large reredos dated 1908 which was designed by E. H. Sedding and carved by the Pinwill sisters of Plymouth. It contains a cartoon by Giovanni Battista Piazzetta and three engravings by John-Baptist Jackson.
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On top of the panels is a 19th-century frieze and cornice. At the western end of the chapel is a gallery which is supported by Corinthian columns and on the left of the gallery is an enclosed pew. At the eastern end of the chapel is a reredos with three painted panels. The left panel has an extract from St Matthew's Gospel and the right panel has the Creed.
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Traces have been found of the original windows in the side walls with surrounding frescos, but they were blocked in when the present Perpendicular windows were inserted. The rose window in the east wall is a reconstruction of the original when the wall was rebuilt. Below are three Norman windows which for many years had been covered by a reredos. When uncovered they here surrounded with medieval frescos, alas now fading.
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A barge lock was constructed against the north-east ("Surrey") side. This is followed by four immense brick piers protected by large ashlar stone cutwaters (starlings). These in turn support relatively thin stone dressings reaching to the metal parapet level, carved in a classical style with reredos and cornices, supporting painted metal arches. A matching-colour balustrade is above the arches finished with black lanterns, metal pillars and simple finials.
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The church opened in 1885 before Prichard had finished the project, and his death in 1886 caused the work to pause. It was later completed in two stages: first by Kempson & Fowler in 1892-3, who added the chancel, south chapel and north vestry. In 1897, G.E. Halliday added two bays at the west end. The church has a marble reredos and stained glass windows by Ninian Comper.
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The main altar reredos is constructed of butternut and bird's eye maple wood, as are the two side altars. The central statue of Michael the Archangel defeating Lucifer, the two incensing angels and the statues on the side altars were sculpted and painted by hand. The beautiful and rare communion rail is carved in oak with a white marble top. The interior of the church can seat approximately 2,000 people.
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Subway construction on 53rd St. in the 1930s prompted additional steel under the altar and massive reredos as a precaution. Cram excelled at planning buildings and at the general massing of forms, while Goodhue had an inventive eye for appropriate decorative detail. Often each worked on separate buildings, depending on the advice and approval of the other. Sometimes they worked together on major projects, as at Saint Thomas, their final collaboration.
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Carved and decorated wooden screens and reredos remain from the 13th century onwards. In Germany, in particular, the skill of making carved altarpieces reached a high level in the Late Gothic/Early Renaissance. In Belgium wood carving reached a height in the Baroque period, when the great pulpits were carved. alt=The reliquary is a large rectangular box with a gabled lid, giving it the appearance of a small temple.
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The reredos is heavily architectonic with columns, niches, scrolls and pediments of different shapes which rise in stages to a plinth on which rests a Medieval statue of the Virgin Mary grieving over the body of Christ. On the level below this is a statue of the Lamb of God. In the niche beneath is a silver cross of Medieval design. Beneath this is a gilt metal sacrament cupboard.
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Interior of St Benet Paul's Wharf The interior is almost a square. Unusually for a Wren church, the ceiling is flat rather than domed or barrel-vaulted. The north gallery was formerly used by the Doctors' Commons, and is now used by the College of Arms. Most of the original 17th-century furnishings are still intact, including the magnificent altar table, reredos and pulpit, designed by Grinling Gibbons.
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Inside the church, the south arcade is carried on circular piers. The stone reredos dates from 1863, and has marble colonnettes. All the stained glass is by William Wailes, other than a north window in the nave dated 1914 by Powells. The stone font and pulpit were carved by George Henry Redpath Young of Ulverston in 1854 at a cost of £34.10s having been commissioned by Elizabeth Lewthwaite, gentlewoman of Broadgate.
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In 1821, Hogan carved twenty-seven statues in wood for the North Chapel in Cork for the reredos behind the high altar. After subsequent cathedral renovations, these are now positioned in decorative plasterwork over the nave."Cathedral Parish, Cork, Ireland", Cathedral of St Mary and St Anne He also did a bas-relief of the "Last Supper" for the altar. This work kept him employed for about a year.
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The alabaster reredos, presented to the church in 1914, contains a carved panel depicting the Last Supper and four saints. In the south wall of the chancel is a small piscina and a twin sedilia. The half- octagonal sandstone pulpit is attached to the pier between the nave and the chancel. The font is of polished fossil limestone, and consists of a carved octagonal bowl carried on a column.
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Inside the church is a four- bay arcade carried on octagonal columns with moulded caps. The wooden reredos is in Gothic style and has a canopy with pinnacles. The glass in the west window is clear, with insets of a coat of arms and two shields containing boars' heads. The two-manual pipe organ was built in 1897 by Harrison & Harrison, and restored in 1985 by David Wells of Liverpool.
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A Baroque carved wood reredos, or retablo in the original Spanish sense, Tenerife. The way a retablo and ex-voto look is entirely up to the person designing it, so long as it contains the necessary basic elements. The most important part of the retablo is the representation of the miraculous event. That is why most artists try to use bright, vibrant colors to portray the supremacy of the event.
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The Grade II listed parish church of Belchford is dedicated to St Peter and St Paul The original church was built before 1153,"Belchford", Genuki.org.uk. Retrieved 27 June 2011 but was rebuilt in 1781, with later additions in 1859. The font is 15th-century; the altar and reredos 19th- century. The village public house is the Blue Bell Inn, which has a restaurant, and provides locally brewed beer.
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To the left of the facade is a four-level hexagonal tower, while the right bell tower is a bell-gable in its form. The confessional and the ceiling has a similar architecture. One is in front of the stained glass window of the Crucifixion of Jesus with the two thieves. The reredos of the altar has eight wooden panels with intricately carved floral design focused on its center.
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The Reredos in the Sanctuary, which was installed in 1909, was by the architect Charles Deacon (1844–1927) as a memorial of Rev E C Lowndes, and is carved with the Instruments of the Passion. Atop which are four statues of archangels Michael Gabriel Raphael and Uriel. The wooden high altar (in the sanctuary) is decorated with three painted panels, featuring: the Annunciation, the Nativity and the Visitation.
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'His Holiness Pope John Paul II', 2005 An example of church restoration work by Gillick and his family can be seen at the church of St Gregory and St Augustine in Summertown, Oxford. The work here includes a new reredos for which he has painted panels featuring the patron saints St Augustine, St Gregory and the Virgin and child, plus a further ten panels in a type of iconostasis.
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Above them another cross tops the reredos. A credence table, also of Caen stone, with a recessed arch enclosed in a square and sculptured corbels on its exterior molding, is on the south wall. Across the chancel the pulpit rises from the crypt, made of red Carlisle sandstone in the Venetian Gothic style. In the middle the lectern takes the form of an angel standing on a globe.
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Maene executed its reredos, including a white marble high-relief tableau of The Last Supper (after Michelangelo) over the altar, carved by August Zeller.The Last Supper, Memorial Church of the Holy Nativity, from Philly Church Project. Architect Edgar V. Seeler designed a new building for The Evening Bulletin, at the northeast corner of Juniper and Filbert Streets, Philadelphia, 1906-08.Bulletin Building - Chronology, from Philadelphia Architects and Buildings.
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He died at Fressingfield vicarage on 20 September 1906, and was buried in the churchyard, A reredos was erected to his memory in the church. His pupils at Yarmouth presented him with his portrait by Alfred Lys Baldry (now belonging to his eldest son at Fressingfield), and a tower at Yarmouth school commemorated his successful headmastership. His fine library of county and bell literature was sold at Fressingfield in November 1906.
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Inside of the church, the stained glass windows was designed by Hardman & Co. The altar and reredos were made by Farmer & Brindley. The majority of the carving was done by Messrs R. L. Boulton & Sons of Cheltenham; a firm who also worked on Cheltenham Town Hall, St John's Church in Poulton- le-Fylde, St Mary's Church and St Alban's Church in Warrington and St Cuthbert's in Earls Court.
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The altar was moved permanently to the east side of the church at that time. The present altar and reredos were carved in Oberammegau and were donated in memory of Frances Blakeslee and Philander Keep Roots in 1924. The Parish House was built in 1951, and the Cathedral House was completed two years later. The Lyman Annex was added to the cathedral complex in 1966 and the Chancellors Hall in 1981.
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The reredos, the Afghan War Memorial mosaics, and the tiles, pews and screen were designed by William Butterfield.Paul Thompson: "William Butterfield", Routledge & Kegan Paul, London, 1971, p.450 In 1852, Conybeare produced an influential report to the Bombay Board of Conservancy entitled "Report on the Sanitary State and Sanitary Requirements of Bombay". He became Superintendent of Repairs for Bombay, where his plans for a water-supply scheme were accepted in 1855.
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In the south wall of the tower is a marble plaque recording the restoration of the church in 1861. Around the chancel apse is blind arcading consisting of marble shafts and limestone arches with decorated capitals, rising from a string course. The reredos, chancel floor and chancel walls are covered with elaborately decorated Minton tiles. Some of the stained glass is by Ward and Hughes, and the rest is by Powell.
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The font dates from the mid 17th-century and the pulpit from 1708. Eleven of the 15th-century choir stalls, the gift of Thomas Savile, have misericords and other carvings including a green man and mythical beasts. The reredos is the work of John Oldrid Scott and possibly incorporates earlier works while the high altar is by Frank Pearson. Some furniture in St Mark's Chapel is by Robert Thompson, the 'Mouseman'.
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The alabaster reredos was imported from Italy in 1915, and contains niches, canopies, and statues. The stained glass in two of the windows was made by Morris & Co. in 1908 and 1911. The design of the earlier window is based on cartoons by William Morris and Edward Burne-Jones, although both were dead by the time the windows were made. It depicts Saint Anne and the Adoration of the Magi.
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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.
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It is surmounted by a brass dove and was made by William Parsons of London. Some of the branches were stolen in 1776, but soon recovered. The Baroque wooden reredos of 1679, probably by local man Thomas Sabin, has been compared favourably with the work of Christopher Wren and Grinling Gibbons, and the metal screen also made by an Ashby craftsman, John Staley, is also of high quality.Williams (1980) p. 10.
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The octagonal timber piers from the previous Perpendicular church have been retained. The reredos and the chancel arcades date from around 1876–77, which the authors of the Buildings of England series are of the opinion are not by Douglas. There is a chime of eight tubular bells that were set up to commemorate Queen Victoria's Diamond Jubilee. A medieval bell was presented to the church by Thomas Cholmondeley in 1810.
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The church is constructed in stone, with a plan consisting of a nave with a clerestory, north and south aisles, a south porch, a southeast porch, a chancel, and a southeast chapel with a canted east end. The tracery in the windows is in free Decorated style. Inside the church, the arcades are carried on alternate round and octagonal piers. The reredos dates from 1954 and contains mosaic and opus sectile.
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Nathaniel Hitch was responsible for the decorative sculpture, including the reredos. The original south aisle of St Mary's Church survives, incorporated into the south-east corner of the cathedral and known as St Mary's Aisle. It still functions as the city centre's parish church. Three brasses were described by Edwin Dunkin in 1882: those of Cuthbert Sydnam (1630), Thomas Hasell (1567) and George Fitzpen, rector of the parish.
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Church of St James the Great thumb The reredos shown in its new location, St Theodore's Church, Port Talbot Baptismal font, shown in its new location in the entrance to Tredegarville Primary School St James the Great is a church located opposite the Cardiff Royal Infirmary on Newport Road, near the centre of Cardiff, Wales. It closed in 2006 after 112 years as an Anglican place of worship.
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The reredos was designed by Ball and carved by Millson. In the chancel is a triple sedilia, and the font is decorated with foliage, tracery and shafts. The furnishings in the choir, and the pulpit, are by James Hatch of Lancaster. There is stained glass in the south aisle by H. G. Hiller and Company dating from about 1926, and by H. G. Moore of Liverpool from the 1930s.
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The altar is crafted from white Vermont marble, with four onyx supporting pillars. The reredos and tabernacle behind the altar are of carved Flemish oak, matching the surrounding walls, and rise into a set of panels containing wood burnings. A plaque designates the area in memory of first rector Gustaf Unonius, who died the same year the church was completed. The wood burning panels were created by Mrs.
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The Reformation of the Keys: Ronald K Rittgers, Harvard University Press 1999 By Frederick II, the order was equipped with more and more possessions. The church still contains the reredos on the high altar which dates from 1360–1370. During the Reformation, the Church of St. James was one of the Protestant Churches. In 1531 a preacher was intended, but the church remained in possession of the Catholic Teutonic Order.
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Internally the reredos is of stone with panels on each side carved in the manner of medieval tiles with the Ten Commandments inscribed in Arts and Crafts style script. The stained glass in the church is all by Herbert Bryans, a pupil of Kempe, and is dated from 1876 to a date after 1900. There is a ring of six bells which were cast by John Taylor and Company in 1919.
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The church contains 69 stone carvings done by Whiteman Studios of Philadelphia. Numerous memorials given by and for church members. Especially notable is the magnificent stone reredos. The present sanctuary has had two notable pipe organs in its long history: a 1908 Haskell organ when the building was new; and a highly regarded 3-manual 1957 Aeolian-Skinner organ #1314 which still exists but is only rarely used.
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The church, dedicated to St John the Baptist, dates from the 11th Century. In the 19th Century a new church was effectively built on to the Norman tower. It was designed by Samuel Sanders Teulon and it has been described by a President of the Royal Institute of British Architects as "one of the most interesting buildings in England". The reredos displays in detail the story of the Last Supper.
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The reredos, created by Italian artists, was originally built for the Co-cathedral of Santa María de la Redonda, but the cathedral chapter rejected it because it contained coats of arms of the donor, Arnao de Bruselas, being donated to the church of Palacio. File:Iglesia de Santa María de Palacio (Logroño). Interior.jpg File:Logroño - Iglesia de Santa María del Palacio 13.jpg File:Logroño - Iglesia de Santa María del Palacio 05.
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After the possibility of placing it in a recess to be formed in the north wall of the sanctuary had been considered, it was eventually placed over the existing screen. Pillars in the ante-chapel were added to support the organ gallery. Principal Heberden was also largely responsible for the restoration and repair in 1902 of the marble reredos, which had fallen into a bad condition.Allfrey (1909). pp. 33-34.
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The reredos is carved in oak and is based on the painting of The Last Supper by Leonardo da Vinci. The font dates from the Norman era, or earlier, and was rediscovered in March 1873 during the restoration of the church. A window in the south aisle includes 14th-century glass which was rearranged in 1834 and depicts seven saints. Other windows in the aisle were made by Meyer of Munich.
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The ornate reredos behind the altar is very fine as is the whole of the chancel area. The church includes a number of memorials/windows to the Everard family. The original Norman south porch was rebuilt in 1860 at a cost of £60. The font which has moved three times dates from the 13th century, and has tracery panels of various kinds including one with two parallel tree trunks.
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Altar in Roskilde Cathedral dwarfed by a huge carved reredos An altar is a structure upon which offerings such as sacrifices are made for religious purposes. Altars are found at shrines, temples, churches and other places of worship. They are used particularly in Pagan, Christianity, Buddhism, Hinduism, Judaism (until the destruction of the Second Temple), and Modern Paganism. Many historical faiths also made use of them, including Roman, Greek, and Norse religion.
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He was later based in Palencia, where there is a large reredos in the cathedral. In Palencia his wife was described as a widow in December 1519. The overwhelming majority of his work held in collections outside Spain dates from this later period during which he concentrated on religious themes. Panels from a large altarpiece from a Palencian church are divided between the Prado and National Gallery of Art, Washington, who have four panels each.
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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.
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The chancel and nave are linked by an arch and are at different levels. The nave roof is also of timber and is divided into sections corresponding with the four bays below. A highly decorative carved reredos in five sections is behind the altar. The church's most distinctive design element is the unusual layout of gables and windows in the north and south aisles; Nikolaus Pevsner described it as "curious" and a "disturbing motif".
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The south transept contains the Elizabeth's Chapel that features 14 Russian Icons and a statue of the Blessed Virgin Mary and child in a 15th-century style. The crypt below the cathedral follows the Norman style that is characterized by round arches and octagon- shaped pillars. The High Altar there is constructed of sandstone, with a reredos of limestone. It has depictions of Moses with the Tablets, and St. John the Evangelist.
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There is no chancel arch. Between the nave and the aisles are four-bay arcades, with Tudor-style arches carried on lozenge-shaped piers, and there is a three-bay arcade between the chancel and the chancel chapels. The stone reredos dates from 1838 and consists of canopies over inscriptions of the Creed, the Lord's Prayer and the Ten Commandments. There are carved screens between the chancel and the aisles dating from about 1900.
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The church was restored again in 1894 when the church was cleaned, and new stained glass by Hardman of Birmingham windows were installed. The choir stalls in the chancel were replaced with ones made of oak and a reredos was added. The chancel floor was replaced with mosaic tiles. The work was done under the supervision of the architect John D Webster of Sheffield, with Samuel Hibberd of Baslow as the contractor.
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Above it is a stone reredos decorated with quatrefoils, fleurons, human heads, and pinnacles. On the north walls of both aisles are fragments of painted texts. In the north aisle is another medieval altar slab, a bracket for a statue, and a doorway leading to the rood loft. The south wall of the chancel contains a triple sedilia and a piscina, and on its east wall are brackets for statues carved with human heads.
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Inside the church, the arcades are carried on monolithic piers (made from single pieces of stone). They are high, excluding capitals and stub-bases and are carved into four shafts around a central spine. (earlier references to 16 ft ht are incorrect) The west gallery is supported on two cast iron columns. The panelled reredos dates from 1872 and side panels were added in 1908; all the panels depict scenes in mosaic.
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The chapel in the south transept contains an altar with a canopy and another reredos. These were added to the church in 1952 to accommodate a 15th-century painted predella. This is divided into three sections containing depictions of Christ before Pilate, Man of Sorrows, and the Lamentation; the sections are separated by gilded tracery. The war memorial, dating from about 1920, is in alabaster, and depicts an angel and a wreath.
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It also has a tower with Baroque bell tower topped with a semicircular dome. Highlights its portal-side reredos and the Renaissance portal of the muro de pies, the choir stalls, its colonial paintings and polychrome wood carvings. Inside rest the remains of Diego de Almagro, Diego de Almagro II and Gonzalo Pizarro. Since 1972 the property is part of the monumental area of Cusco declared as a Historic Monument of Peru.
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A silver reredos, which was behind the altar, was carried away in the war of 1808, and converted into coin to meet the expenses of the campaign. There are two paintings by Francisco de Goya in the San Francesco chapel. Behind the Chapel of the Blessed Sacrament is a small Renaissance chapel built by Calixtus III. Beside the cathedral is the chapel dedicated to the Our Lady of the Forsaken (Mare de Déu dels desamparats).
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Main entrance to the church. The church's interior showing the nave, altar and stained glass windows prior to the renovation, showing the lack of reredos and bare sanctuary. The Church of Saints Peter and Paul (Chinese: 圣伯多禄圣保禄堂) is a Roman Catholic church in Singapore. It is located at Queen Street within the Central Area known as the Bras Basah Bugis precinct of Singapore's arts district.
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The reredos is by Geoffrey Webb, is dated 1911, and contains canopied figures. It is painted and gilded, and described by the authors of the Buildings of England series as "magnificent". In 1928 Arthur Barbosa designed the organ case, pew fronts and six-foot candlesticks.Obituary: Artur Barbosa from The Independent, Friday 13 October 1995, retrieved 19 Dec 2013 At the west end of the church, dating from 1952, is a canopy forming a baptistry.
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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.
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Hansom was able to retain the tower and spire by Manners and Gill from the original building. The church is listed Grade II and is notable for its stained glass windows and mosaics lining the walls, and especially the reredos. In March 2012 the church was awarded a grant from English Heritage to repair the roof. A major factor in this, according to English Heritage, is that the mosaics and windows are of national importance.
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John Burcham Clamp (1869-1931), a former pupil of the parish school (Christ Church School), was parish architect from 1899 and was responsible for the restoration of the interior of Christ Church after a fire in August 1905. His work includes the reredos (1905), a font cover (1904), the St Laurence Chapel (1912) and screening under the organ (1914). Clamp also designed a chancel screen, installed in 1922 but removed in 1942.
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In the South aisle is a window designed in 1938 by the church curate, B. F. L. Clarke, showing Gwethenoc, Geoffrey of Monmouth, and the church's architects Francis Smith and G. E. Street. The North chapel has screens by William Douglas Caroe. The reredos, a large altar painting entitled The Adoration of the Magi, is by James Watney Wilson, RA, and dates from 1888. Imaging the Bible in Wales: James Watney Watson.
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According to local folklore, the dispute began in medieval times with a young bride being married to an old man and a knight stealing his way over the mountains to rescue her. Hegge Stave Church, at Hegge, was originally constructed in the year 1216 or slightly later. It has been extensively rebuilt and is mostly post-reformation. It contains a fine altarpiece (reredos) carved by Eistein Kjørn from Heidal between 1781 and 1782.
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Notable features include the striking façade, a reredos carved from Caen stone and a great north window with intricate stone tracery. The cathedral was subsequently much renovated (in line with reforms promulgated by the Second Vatican Council). It was restored to its near original design in 1994 when authentic colours, materials and techniques were used. The restoration took a year, during which time cathedral services were held at St Mary's church (Church of Ireland) nearby.
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The interior is particularly striking, and features the extensive use of murals, mostly by the Victorian designers Heaton, Butler and Bayne. Most of the murals have been painted directly onto the walls; only those at high level in the chancel are marouflage. The reredos paintings are on mahogany and portray the Crucifixion and the Apostles. The murals on the walls of the nave depict the life of Jesus from the Annunciation to the Ascension.
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The architect was A. Macphearson, and Walker and Slater of Derby were the contractors. The chancel was completed and opened on 11 September 1890. A reredos was provided in 1895 obtained second hand from St Paul's, Burton upon Trent. The church was closed after a final service held on 26 December 1937 after the Bishop decided not to create a separate parish, and the congregation was re-incorporated into that of St Luke's Church, Derby.
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The main entrance is through the lowest stage of the tower, which leads into a lobby whose floor is laid in a "classic Gothic Revival form" with encaustic and geometric tiles. The wooden roof has arch- and cross-braces. Other timberwork includes the reredos between the body of the church and the vestry, a gallery with a balustraded staircase and built-in clock, box pews and a pulpit with some wrought ironwork.
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The altar and reredos are also by Sedding with carvings by Frank Tory and a centrepiece painting of the Adoration by Nathaniel Westlake. The interior is richly furnished with many of the designs by Henry Wilson. The church organ dates from 1992, it is made in the classic British style by Martin Goetze and Dominic Gwynn and is based on the early work of master organ maker Bernard Smith.www.goetzegwynn.co.uk. Gives details of church organ.
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Richard and Sybil Quartermayne, lord and lady of the manor of Rycote, founded Saint Michael's chapel as a chantry in 1449.Sherwood & Pevsner, 1974, page 747 It is a Perpendicular Gothic building with a chancel, nave and west tower. It retains original 15th-century wooden fittings including pews, stalls and a screen.Sherwood & Pevsner, 1974, page 748 In the 17th century the chapel was ornamented with a west gallery, altar rails, a reredos and other fittings.
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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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In 1932 were installed a new marble altar, marble font, and marble reredos with a statue of Christ and other stone figures, all designed by Nugent Cachemaille Day (1896–1976). (The font was a war memorial to the fallen of the 1914–1918 war). On 7 March 1983, the church's roof caught fire, caused by workmen then repairing a hole in the roof.News Report on YouTube The fire spread, and the church was destroyed.
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Above the painting is a statue of Saint Anne with Mary as a child. On the lower level of the reredos are statues of the Four Evangelists. The small crucifix in the center is flanked by statues of angels holding grapes and wheat in reference to the elements of the Eucharist. The former altar frontal bears the images of the four great Western Church Fathers Saints Jerome, Augustine of Hippo, Ambrose, and Gregory the Great.
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The chaplain, Rev Henry Haworth Coryton, ministered to the PoWs in Groningen and, as a thank-offering, Leonard A. Powell painted the three-panelled reredos. A Harrison & Harrison organ was added in 1920. In 1958, Queen Elizabeth II and Prince Philip together with Queen Juliana, Prince Bernhard and the Princesses Beatrix and Irene made a visit on the 250th anniversary of the Church. Queen Beatrix visited St Mary's in April 2008 for the 300th anniversary.
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The reredos consists of a triptych dating from about 1890 by the artist Charles Edgar Buckeridge. Also in the church are the Royal Arms of Charles II. The stained glass consists of a large series designed by Kempe dating from 1890 to 1922. The two-manual pipe organ was built in 1866 by J. W. Walker. It was reconstructed and enlarged in 1890, and overhauled in 1991, on each occasion by Walker's.
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Over the course of his career, Goodhue relied on frequent collaborations with several significant artists and artisans. These included architectural sculptor Lee Lawrie, and mosaicist and muralist Hildreth Meiere. Their work is central to the aesthetic power and social messages implicit in Goodhue's best work. Lee Lawrie worked with Cram and Goodhue on: the Chapel at West Point, the Church of St. Vincent Ferrer, St. Bartholomew's, and the reredos at the Church of St. Thomas.
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He had previously been pastor of First United Methodist Church, Ann Arbor. He was a personal friend of Gandhi, and wrote a book about him, published in 1932. In 1936 Woodward Avenue was widened and the church nave shortened to save the steeple and west wall. Dr. Fisher redesigned the now recessed divided chancel to include a pulpit, lectern, and reredos of Applachian white oak, and a mural of the 12 apostles.
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Other new features included a new pulpit and seating. A marble altarpiece from General George Wade in the sanctuary was removed and replaced with a decorative reredos. The finely-carved pews are also by Gilbert Scott, and are considered to be some of the finest examples of church seating designed by the great architect. They are unique to the abbey, and were modelled on 16th century pews found in other Somerset churches.
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Beneath the chancel east window is a 1911 stone reredos sculptured in relief, and painted, by Mrs. G. F. Watts. A raised central panel depicts the crucifixion of Christ with, at each side, three saints within triple-arched niches: the saints Hugh of Lincoln and Gilbert of Sempringham, and the Virgin Mary to the left; St John, Bishop King of Lincoln and St Christopher to the right. The base projection contains a scalloped bed-mould.
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The old village on the Baou, now felt to be too cramped, was abandoned as soon as the new quarters of Perthuis and au Delà were built. A town hall was erected and the port laid out. The parish church of Saint-Léger was built between 1660 and 1668, but the bell tower was not finished until 1740. The church now contains the Saint-Anne reredos which dates from the sixteenth century.
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The single-cell interior contains a small chancel and a recess in the west wall leading into the convent. The roofs of the chancel and the rest of the chapel have different forms of construction. The stone altar and reredos are thought to have been designed by Pugin. The altar has statues in niches of Saint Francis de Sales, Saint Jean Frances de Chantal, Saint Teresa, Saint Anne, and another, unidentified saint.
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The High altar and carved reredos, which depicts saints Edmund, Ambrose, Gregory the Great, Jerome, Augustine of Hippo and Thomas of Canterbury, date from 1923. All of the stained glass windows are by Hardman & Co. except the west window which has been attributed to Geoffrey Webb and dated to 1937. This depicts Jesus flanked by St George and St Demetrius. Another, installed in 1922 and designed by Hardman & Co., depicts St Mary Magdalene.
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Architectural features of East church include squints (hagioscopes), stone benches, a carved stone reredos, and roof level markings on the tower, which tell the story of development in the East church. Other features of interest in the East chapel are the medieval wall paintings, which include the Royal Standard of King James c. 1604, St. Christopher (c.1400) and those of Mary Magdalene and the Virgin Mary on the walls of the Chancel.
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It was notably the first organ with adjustable-combination pedals to be operated by electricity. Arson destroyed the Sacré-Cœur Chapel on December 8, 1978. It was rebuilt with the first two levels reproduced from old drawings and photographs, with modern vaulting and reredos and an immense bronze altarpiece by Quebec sculptor Charles Daudelin. Notre-Dame Church was raised to the status of a minor basilica by Pope John Paul II on April 21, 1982.
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The parish church of the Conversion of St Paul was built in the eighteenth century on the site of a medieval church and was restored in 2004–2005. Its chapel is dedicated to the Virgen del Pilar which contains a late 17th-century baroque reredos. A 15th century wooden crucifix is housed in the sacristy. Surviving remains of defensive walls and towers indicate that Manchones was part of the defensive system for Daroca.
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Over the years the Makati Church underwent several renovations and changes in the design but most of its features like the reredos and the church bells are still original. On October 29, 2018; the Congregation for Divine Worship and Discipline of the Sacraments granted a Canonical coronation to the image of the Virgen de la Rosa. The rite of crowning took place on March 16, 2019 presided by the Papal Nuncio to the Philippines.
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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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The gallery which blocked the tower was removed, and the tower arch opened up. The seating in the nave and choir stalls were renewed. The floor was laid with Minton tiles, with those in the sanctuary containing evangelistic symbols. A reredos was made from the alabaster slab which formed the old altar, and was inlaid with a centre cross of Rouge royal marble and Derbyshire Blue John, and four smaller Maltese crosses.
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The nave is in three bays with oak panelling and a single-bay gallery. At the east end between the windows is a pedimented reredos inscribed with the Ten Commandments in gold. Below this is a panelled oak pulpit carved with fruit and leaf motifs and a moulded cornice. The floor of the chancel is paved with tessellated squares of black and white marble while the rest of the floor is tiled.
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St. John the Baptist church is also on Penistone Road () and was built by J.B. Mitchell-Withers at a cost of £6,300 in 1874. It was consecrated on 29 July by William Thomson, Archbishop of York. It has a slender bell tower with wooden belfry and a pyramidal slate roof. The interior has a seating capacity of 600 and includes a high chancel arch, oak reredos installed in 1907 and various stained glass memorial windows.
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In 1894 the old reredos carved by Walter Gale, the village schoolmaster in 1750 was replaced. The pope was said to enjoy this eastern facing window as it represented to him, a gateway between eastern and western culture. During the 1970s cracks in the tower walls meant that it was forbidden to ring all the bells at once. It was fourteen years before the tower could be restored at a cost of £140,000.
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At the same time, part of the reredos was replaced. The church was closely connected with the former Preston Barracks, situated further up the Lewes Road in the north of the parish. A gallery was built on the east side of the chancel for troops and members of military bands to participate in services; also, two different regiments erected memorials to comrades killed in the Battle of Khartoum in 1884 and 1885.
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On the abolition of Doctors' Commons in 1858 Deane transferred himself to the courts of probate and divorce, where he obtained a large practice, adapting himself to juries and to the examination of witnesses. In the ecclesiastical courts of the period there were few leading cases in which Deane was not retained; noted appearances were Boyd v. Phillpotts, in which the legality of the Exeter reredos was challenged, and of Martin v. the Rev.
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Much of the restoration work was completed by local architect John Prichard between 1843 and 1869. A triptych by Dante Gabriel Rossetti was designed for use as a reredos, and a new stained glass window, Shipwreck of St Paul, was designed by Ford Madox Brown. Sir Edward Burne-Jones designed the porcelain panels Six Days of Creation in St Dyfrig's Chapel. From 1691 until around 1860 there had been no choir at the cathedral.
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The pulpit is from the 19th century. The reredos, dated 1876, is by John Douglas and was made by Morris & Co.; it includes a painting of the Last Supper. The organ had been built as a temporary organ for the coronation of Queen Victoria in 1838 by William Hill and Company of London. It was then rebuilt for St John's, transported to Chester by barge and installed at the west end of the church.
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Above the altar, the centerpiece of the reredos is a high relief sculpture of "Christ blessing, vested as a priest and surrounded by adoring angels.""St. Alban's Church, Olney," Church News (Diocese of Pennsylvania, December 1915), pp. 130-134. Henry F. Plasschaert modeled this Benediction bas relief in clay, and Maene carved it in white marble. St. Peter's Episcopal Church in Perth Amboy, New Jersey was seriously damaged in the 1918 Morgan Munitions Depot explosion.
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The rest of the stained glass was made by Morris & Co. Two of the windows were designed by Burne-Jones, others by Morris himself, and the latest windows dating from 1925 to 1927 are by Henry Dearle. The reredos is a war memorial dated 1920 by H. G. Hiller. Also in the church is a monument from the older church dated 1845. The three-manual organ was built by James J. Binns of Leeds.
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The Illustrated London News; Vol. LIV Though there was a "lamentable rebuilding in 1871" (Charles Henderson) there are some features of great interest. These include the reredos and a Pietà of Catacleuse stone which may be fragments of a late medieval monument, possibly that of Lady Matilda Chyverston which is mentioned in a document of 1399. According to local tradition the stonework was originally in the chapel at Halwyn, an estate of the Hamelys.
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The high altar of Strängnäs Cathedral, showing detail of the sanctuary, and the very large carved and gilded triptych reredos. The shrine of the Blessed Virgin Mary in Strängnäs Cathedral. Construction of the cathedral began in about 1260 with inaugurated in 1291; additions were created during the 1300s and 1400s. In 1330 the core church itself was completed and it was later supplemented during the Middle Ages with a sacristy, towers and lateral choirs.
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Careful restoration by J.L. Pearson in 1882 included reroofing and the rebuilding of the bell-turret and south porch. Two stained glass windows were added, made by Clayton and Bell, who also painted the reredos. The building was designated as Grade I listed in 1964. The benefice was united with Manningford Abbots in 1924, together with the southern part of the benefice of Manningford Bohune, to form the parish of Manningford Bruce and Abbots.
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It was consecrated as a parish church during the following year. Following this, a number of alterations and additions were made by the Manchester architect J. S. Crowther. In 1858 a north aisle and porch were added, followed by an extension to the west of the nave in 1861. In 1871 the Lancaster architects Paley and Austin restored the church, added a chancel and a vestry, and installed an alabaster and mosaic reredos.
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Also in the chancel are a restored sedilia, piscina (both 13th-century, and on the south wall), pulpit of stone, a modern altar, and a reredos and panelling dating from 1921. Most windows are lancets; some date from the 13th century, and most contain plain glass. Two stained glass windows depict St Francis of Assisi and St Nicolas. The east end windows consist of two tall, narrow lancets below a sexfoil (six- lobed window).
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Both the church and the hall are built of Bedford limestone and they have a slate roof. The interior of the church contains hand-carved furnishings by William Bartels of Carthage, Illinois. He carved the reredos, altar, altar rail, chancel screen and the ends of the pews. The three panels on the front of the altar depict grapes and wheat to represent the Eucharist, and a bas relief of Christ carrying the cross.
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The tower lacks a spire but features narrow arched windows which emphasize its verticality, and echo the fenestration of the facades. The interior displays elaborate tracery trusses support on cast iron posts. The present altar and reredos were added around 1892 and were designed by Charles Haight of New York. In the two decades following the American Civil War, a number of institutional buildings were constructed in the Gothic Revival style in Middletown.
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Prior called on a range of associates from the Movement creating a range of very fine fittings. The reredos is a tapestry made to a design of Edward Burne-Jones, The Adoration of the Magi, and was made by Morris & Co, as is the chancel carpet. Ernest Gimson provided the altar rails, Bishop's chair, altar and processional crosses, candlesticks, pulpit, choir seats and lectern. The foundation stone was carved by Eric Gill.
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In 1872 Carpenter was responsible for the design of the pulpit at Jesus Church, Forty Hill, Enfield, Middlesex. This led to a commission in 1874 for a complete church at Enfield, St Michael and All Angels. built in ragstone in a fourteenth-century Gothic style, with a clerestory with double lancet windows. The altar in the chancel is recessed into polygonal vaulted apse in the Byzantine style with stone reredos depicting the Crucifixion.
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In 1898 the chancel was restored and redecorated by George Frederick Bodley. A wooden reredos was installed in the Lady Chapel. The stonework of the exterior was restored in 1911, when statues were inserted into three niches in the south porch. A further restoration took place in 1968 when the upper part of the tower was replaced, the spire was taken down, and most of Bodley's paintings were removed from the chancel.
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There were Victorian restorations in 1868–72 by Richard Herbert Carpenter and William Slater which consisted of repairs to roof and walls and re-seating, and further work in 1887. The reredos was made in 1930–31 as a memorial to Sackville George Stopford-Sackville, who died in 1926, to the design of the architect William Randoll Blacking. More repairs were carried out by the architect Eric Arthur Roberts in 1973–75.
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The box pews, which were installed in 1872, are mostly now reduced in height – only those of the Bearcroft family in the north aisle and the Vernon family servants in the south aisle, retain their original height. In the north aisle are the original artist's models of the Nativity and Resurrection panels for the reredos of Liverpool Cathedral, by Walter Gilbert founder of the Bromsgrove Guild, and Louis Weingartner one of his craftsmen.
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Helen Maitland Armstrong, cartoon for a memorial window shown at the 1893 World's Columbian Exhibition. East window of Old St. Paul's Episcopal Church, Baltimore, Maryland, by Helen Maitland Armstrong, above reredos by Louis Comfort Tiffany, photographed after 1933. The window depicts the glorification of God and was installed ca. 1904. Helen Maitland Armstrong (1869–1948) was an American stained glass artist who worked both solo and in partnership with her father, Maitland Armstrong.
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East Window The five principal lights show the Crucifixion. The five smaller pictures below (partly hidden by the reredos) are: (a) Christ's entry into Jerusalem; (b)The raising of Lazarus; (c) The Last Supper; (d) Christ's agony in the Garden of Gethsemane; (e) Christ carrying His cross. South Sanctuary (a) Jesus with Martha and Mary at Bethany; (b) The raising of Lazarus. (In memory of Frances Matilda Gore Langton, died 1864) South Chancel 1.
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When completed, it was regarded as a quite outstanding example of its kind, and attracted visitors from as far away as America. By 1934, the church needed to be extended to include an assembly room (currently used as the choir vestry). In 1937 a new altar with oak panelled reredos was added. In 1962, the church was classified as Grade B status, but in December 1969 this was revised to "Grade II listed".
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The church has a fine collection of late Victorian stained glass windows by many famous makers, including Kempe, Burlison and Grylls and Hardman & Co..Hood, J. C. F., 1910, St. Mary's Church Nottingham. The reredos above the altar is by the artist Charles Edgar Buckeridge. It is also known for its octagonal mediaeval font with a palindromic Greek inscription ΝΙΨΟΝΑΝΟΜΗΜΑΤΑΜΗΜΟΝΑΝΟΨΙΝ (Wash my transgressions, not only my face),Dictionary of phrase and fable. Ebenezer Cobham Brewer.
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The stained glass windows in the nave, the chief glory of the church, were executed by Lavers and Westlake of London. They depict various Scriptural scenes with a particular delicacy and sensitivity to detail. Some other windows, particularly those in the clerestory, are of later manufacture and have been progressively installed, chiefly as memorial gifts. The font was placed in the church in 1888, the pulpit in 1893 and the reredos in 1894.
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The parish was a wealthy and influential one, and Trinity was the only one of Trinity Church's chapels which was capable of supporting itself without assistance from the home church. In 1865 in Trinity Episcopal Church the Orthodox Liturgy was held for the first time in American history. Among the congregants was writer Edith Wharton, who was married in the church in 1885. In 1892, the reredos and altar were redesigned by Frederick Clarke Withers.
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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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An original 14th-century stained glass window is on loan to the Stained Glass Museum in Ely Cathedral. This described as "one of the most delicate of all fourteenth-century windows in Cambridgeshire, showing St Catherine holding her wheel". The second light in the window depicts St Lawrence, depicted under a decorative canopy. In the church are several monuments, the best of which are to the memory of the Hussey family, as are the 1874 tiles and the reredos.
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Flanking the chancel arch are boards painted with the Ten Commandments, and over the arch are the Royal arms of Queen Victoria. The pews date from the 19th century, and are carved with poppyheads. There are two box pews, one of which incorporates the pulpit and the lectern. The choir stalls, altar rail and reredos are all from the 19th century, as is the stained glass, which includes a copy of The Light of the World by Holman Hunt.
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The ceiling again is decorated with lozenges, and it contains a central oval dome decorated with putti. On the north and south walls of the transepts are roundels containing depictions of doves. At the east end of the chancel is a dado and a frieze, and a central marble reredos, inlaid with the motif of an anchor, and surmounted by a pediment and an urn. On each side of the east window are double lancet Commandment boards.
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According to his measurements, La Castrense was about long overall and wide, extending to wide at the transept. The ceiling, supported by corbeled beams, was about high with a clerestory above the sanctuary. As to the reredos, he wrote Ultimately, although highly critical of many of the churches he visited in New Mexico, Domínguez conceded "Its interior is very attractive." The chapel remained in use by Spanish, and later Mexican, troops stationed in Santa Fe until the 1830s.
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The building is noted for its roof dormers that illuminate windows in the wall of the nave."Church of St. Lucy – St. Patrick", NYC AGO St. Brigid's on E 8th St. in Manhattan was built in 1848 to a Carpenter Gothic design by Keely, who carved the five-pinnacle reredos, organ case, and wooden altar himself.Farley, Adam. "St. Brigid’s Catholic Church in the East Village Reopens", Irish America, April/May 2013 Keely designed St. Mary's in Yonkers in 1848.
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I managed to > overcome my fear and went on up the nave towards the altar. As I passed, > groups of people crossed themselves and said nervously: ‘Don’t do that!’ I > took no notice, but opened the gate in the rails and went and stood in front > of the altar. Behind it, instead of a reredos, hung a tapestry with a > strange, curling design in dark red; the tapestry was so high that it lost > itself in the roof.
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The altar's reredos features a painting by itinerant Norwegian immigrant artist Herbjorn Gausta called Resurrection. The cemetery is located on the west side of the church, and there is a shed on the property that was built in 1938. West Paint Creek Synod Evangelical Lutheran Church and Cemetery The church building was the site of the local community's religious and social life. Its significance is found in its association with Norwegian and Norwegian-American architecture and social history.
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Swags have been recreated over the east windows. The interior is otherwise plain, other than Corinthian pilasters. In the vestry to the north west is crazy paving made from shattered tombstones. Pulpit Surviving from the 17th century are the carved pulpit, (although on a modern base and lacking its tester), the font cover, part of the communion rail, parts of the original Wren era reredos, now installed on the south wall and the Charles II coat of arms.
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In 1975, Msgr. Severino Casas built two mortuary chapels in the church compound. Changes in 1983 included the lengthening of the nave and the removal of the choir loft above the main door, as well as the installation of the crucifix above a new altar. The retablo (reredos) was preserved, while the antique image of St. John the Baptist--which was previously at the top- centre of the retablo--was moved to the Saint Joseph Chapel.
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It was built where once stood a tall cherry tree, which was felled and used to make wood structures inside the churches such as the balcony or the reredos. The building was designed in the Gothic Revival architectural style. It was modelled after a church in Devon, England, as well as the Chapel of the Cross in Chapel Hill, North Carolina. Built by African slaves owned by Polk and his brothers, it was completed in the summer of 1842.
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The stained glass, taken as a whole, has been described as showing a "phenomenal standard of composition and artistry ... Few churches contain such a treasury."Robinson (2006) pp. 6–7 The current reredos and altar were erected in 1923, as was a wooden war memorial in the north aisle. Most churches prior to the Reformation had painted walls, often with murals; these were whitewashed by the reformers, and often religious texts or the Ten Commandments replaced the images.
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There was once a rood screen across the chancel, as shown by markings on the north wall and on the westernmost of the arches. It was still in position in 1867, when one visitor mentioned it in his notes on the church. Panelling has been fixed to the east and south walls of the sanctuary in the chapel as a reredos. The chapel measures 32 feet 6 inches by 14 feet 6 inches (9.9 by 4.4 m).
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Removal of the reredos opened a space in the center wall of the sanctuary for a sculpture by Harry Breen of Champaign, Illinois. It depicts a Christ figure ascending from the Crucifix. A Carrara marble statue in one of the church's alcoves depicts the Blessed Virgin Mary. It is placed in front of a shrine that contains the tomb of Saint Mother Théodore Guérin, foundress of the Sisters of Providence of Saint-Mary-of-the-Woods.
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The portal of the church is of Genoese marble. The interior presents a single nave and the crossing covered by a cupola with lantern, on pendentives and drum, like the basilica of the Monastery of El Escorial. Beneath it stands the tomb of Cardinal Tavera, a work made in white marble by Alonso Berruguete and accompanied by other funeral sculptures. The reredos of the church was designed by El Greco and carried out by his son Jorge Manuel.
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His late masterwork is the elaborate white marble reredos of the Piccolomini altar in the Duomo of Siena, completed in 1503. It takes the form of an architectural facade round a large central exedra with a half-domed head, and figures in niches. In 1481, Andrea Bregno had started the altar for the tomb of Cardinal Francesco Todeschini-Piccolomini, who was to succeed Pope Alexander VI briefly as Pius III in 1503. Bregno died in Rome in 1506.
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During the American Revolutionary War in 1776 a mob of patriots raided the church and removed the British royal coat of arms from the building. Many of St. Michael's members were Loyalists who fled to Canada during the Revolution. In 1793 the original spire on the bell tower was taken down 'being rotten.' The building was renovated in 1833 with Gothic windows, new pews and with the altar, a pulpit and original reredos at the north end.
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The chancel was separated from the nave by a rood screen but this has now been removed. Behind the altar is the east window of the church. The original from the 14th century was removed during the repairs to the chancel in 1896 and was stored in the garden of the rectory in Bell Lane. The new window was set about higher than the original, to accommodate a reredos (since removed) and is thus unusually high.
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Finished in 1715, the church soon had all the required furnishings: Bible, prayer books, altar, font, cushions, surplice, bell, and reredos tablets. In 1755 the church got its first organ when the vestry voted on November 18 to enable "a person to build a Loft for an Organ in the Church in the City of Williamsburg, and to set up the same." Peter Pelham was unanimously chosen as the church's first organist. The Church Review and Ecclesiastical Register, Vol.
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Inside the church the font and reredos are in Caen stone, they were both made by T. Ruddock, and they depict biblical scenes. The stained glass includes the east window of 1868 by Clayton and Bell. In the south transept is a window by H. G. Hiller dated 1912, which depicts Saint Michael and angels. The west window is by an unknown artist, it is a war memorial dating from about 1920, and again it depicts Saint Michael.
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Inside, the church is equipped with a basement, while its most impressive feature is a vaulted ceiling decorated with multiple High Gothic Revival reredos. A rectangle long and wide, the church was built on the site of the previous structure. Architectural historians have divided the Precious Blood-related churches of western Ohio into four generations. St. Sebastian's is typical of the churches of the third generation, which are generally Gothic Revival structures with a single central tower.
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In the 1970s the Church was threatened by the proposal to build a major road in the area which would have meant demolition but the plans were eventually changed. In 1982 the church’s two function rooms were upgraded and in 2000 the church received a major restoration externally and internally with funding from the Heritage Lottery Fund. The internal work included the cleaning of carbon deposits from the reredos and paintings, a result of Sheffield‘s heavy industrial past.
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It contains a reredos with carvings of personifications of virtues, framed by carved friezes, and posts surmounted by angels. There are stained glass windows by David Evans of Shrewsbury dating from the early 19th century, and by J. C. Bewsey dated 1932. There is a ring of six bells. Four of these, dated 1757, 1761 (2), and 1765 are by Rudhall of Gloucester and a bell dated 1826 is by Thomas Mears II of the Whitechapel Bell Foundry.
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In 1959, in response to structural problems at the church resulting from subsidence, and to a declining inner-city population, the Diocese of London closed St Luke's and the parish was re-absorbed into that of St Giles-without-Cripplegate.Purcell Miller Tritton 2000, pp. 19, 43. The following year the font and organ case were moved to St Giles' church, the reredos and altar rails to St Andrew Holborn, and the roof was removed for safety reasons.
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The "Translation of Saint Decuman" used to be celebrated. The 15th century, Grade I listed, Church of St Decuman is dedicated to him. The Norman church was rebuilt in the 15th and 16th centuries when the central tower was demolished and the present one built at the west end. It was restored and reseated by James Piers St Aubyn between 1886 and 1891, with further internal alterations being made in 1896 when the Caen stone reredos was erected.
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An 1846 restoration added a lower chancel roof, and a lath and plaster chancel arch which was removed by a further restoration in 1936, revealing the down face of the chancel roof below the chancel arch apex. A further tower restoration took place in 1946.St Andrew and St Mary’s Church official guide bookCommemorative plaque on the tower arch The chancel reredos was added in 1911, designed by Mary Fraser Tytler, the wife of George Frederic Watts.
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Behind the altar is a folding reredos dated 1900 which was made by Kempe and moved from Christ Church Cathedral, Oxford. The brass chandelier dated 1725 was made by Brown of Wigan. The organ dates back to 1769 when it was built by Glyn Parker of Salford. Later modifications were made by R. W. Nicholson of Bradford (at an unrecorded date), by Harrison & Harrison in 1905, and by the Pendlebury Organ Company of Cleveleys in 1979.
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The church was designed in the Decorated style and built of red Hollington stone. The building includes a polygonal vestry and a detached north-west tower linked to the body of the church by a vaulted passage. There is a fine Bodley reredos in the north chapel. It has been described by Nikolaus Pevsner as "the finest building by far in Burton-on-Trent" and in the listing text as "one of Bodley's best later works".
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It is constructed in pinkish-red sandstone with Westmorland slate roofs. Its plan consists of a four-bay nave with a south aisle under a parallel ridged roof, a south porch, a north transept, a north vestry, a two-bay chancel and a west tower. The tower is in four stages with an octagonal southeast turret and an embattled parapet. The chancel is decorated with richly coloured patterned tilework and the reredos is of marble and embossed patterned tiles.
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In 1963 the Diocese of Oxford constituted St Michael's as a parish church, with its new parish formed from parts of Headington, Marston and St Clement's parishes. St Michael & All Angels parish church from the southeast. St Michael's was designed by T.L. DaleSherwood & Pevsner, 1974, page 336 in a "vaguely Italian renaissance style" that includes a slender campanile for its single bell. It has a statue of St Michael by Michael Groser and a reredos painted by Leon Underwood.
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Charles Eamer Kempe provided most of the stained glass and an intricately carved wooden reredos. The "Worthing Madonna" represents the Virgin Mary and the baby Jesus, stands in a recess in the apse of the Lady chapel, and was executed in Caen stone by sculptor Harry Hems of Exeter, Devon. The stone has a gold and dark red mosaic-style border. Hems also made the font, a stone structure in the baptistery, although Arthur Blomfield drew up the design.
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It was constructed in dressed local stone, including stone salvaged from a nearby ruined Franciscan Friary."St. Aidan’s Cathedral, Enniscorthy, Co. Wexford", Archseek Notable features include the façade, a reredos carved from Caen stone and a great north window with intricate stone tracery. The cathedral was subsequently much renovated in line with reforms promulgated by the Second Vatican Council. It was restored to its near original design in 1994 when authentic colours, materials and techniques were used.
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Coope was the author of many publications which emphasised the Catholicity of the Church of England. The church was much improved during his time: there were new vestries, a north porch, stained east window and a new reredos and pulpit. Opposition to Coope's practices led eventually to a dispute with the Archdeacon, W. J. Phillpotts, in 1866. Coope was supported by the newly formed English Church Union and the Archdeacon who had planned legal action did not proceed.
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The interior, destroyed during the Civil War by Union Cavalry for firewood, was restored in 1871 and 1976. The last restoration is a painstakingly accurate restoration of the original interior.On the southeast corner are initials possibly of Union soldiers. It consists of box pews painted colonial blue-green with dark wood tops, the original reredos on the eastern wall, and a lectern under the "wine- glass" pulpit high on the north-central wall, directly opposite the southern doorway.
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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 Grade I listed church was designed and rebuilt from a medieval church in stages between 1847 and 1853 by the vicar, Rev. John Parker (vicar 1845–60). He designed the porches, ceilings, windows and reredos. The idiosyncratic almost detached steeple was designed and added 1855-6 by the same vicar, who also designed and built the two nearby listed buildings comprising the school house and schoolmaster's house (at one time used as the post office).
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East window The east window, designed by Brown, dominates the east end of the cathedral, rising above the reredos, and is based on the theme of the Te Deum laudamus. At the top of the window is the risen Christ, and around and below are members of the heavenly choir. Under this are four lancet windows, each representing one of the communities praising God. The left window represents 'the company of the apostles', with Saint Raphael at the top.
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The building contains many finely crafted elements including internal joinery such as the ceiling and roof trusses, reredos and seating pews; glazing and stonework. The place is important in demonstrating a high degree of creative or technical achievement at a particular period. The William Bustard stained glass windows of St Mark's are of considerable creative and technical achievement. The provision of ventilation and diffused lighting via the high level louvred openings is a considerably innovative achievement.
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The reredos, a remarkable and highly ornate original fitting, has been retained and adapted to suit changes in the liturgy. The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons. It has a special association with the Catholic community of Malanda. Both the fund raising for the Church and its design and construction were projects involving the wider community in the early years of settlement in the region.
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Christ Church, High Harrogate was the first permanent church building in Harrogate. Originally a chapel of ease to St John's, Knaresborough, the bulk of the present building was erected in 1831 to designs by John Oates (architect) and consecrated as the first parish church in the town. The transepts and chancel were added in 1862 by Henry Francis Lockwood and William Mawson. The carving on the extensions and a previous reredos were executed by Mawer and Ingle in 1862.
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The main entrance has a semi-octagonal porch of ashlar stone. The gallery displays the Hanoverian arms. In his 1958 book South and West Somerset, Nikolaus Pevsner described the chancel and its glazing as being reminiscent of "the bow-window of a house", which created a "surprising and attractive effect". Fittings of the church include painted reredos, an early 19th century pulpit and altar table, 17th century coffin stools, a 19th- century organ and 20th century font.
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A new secondary porch was created in the main entrance in the 1989 renovations along with a new small porch in the North aisle. The main high altar table was taken out, however the original reredos which was installed in 1904, was kept. A new lighting scheme was installed, to give the cathedral more brightness and warmth which it had lacked for many years. A new sound system was also installed which gave the cathedral excellent amplification.
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The elongated church (), a conglomeration of distinct buildings, is divided into two areas by a wall, a 13th-century monastery church, and the Norman parish church. The eastern section contains interesting medieval wall paintings with religious themes, and a fine reredos. The western section, a Lady chapel, in length, has an inscription to King Rhys ap Arthfael of Morgannwg who died in the mid-9th century. The church contains a curfew bell and medieval priest effigies.
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In 1962, new reredos created by Faith Craft Works of Westminster were installed at the church. St John's was restored in 1963, with the work being carried out by Mr. James A. Pope of Wells for an approximate cost of £500. The completion of the restoration was celebrated by a thanksgiving service on 13 June 1963. As part of the project, new communion rails were installed in memory of Mr. Frederick Arthurs, a former churchwarden and postmaster at Horrington.
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They also reseated the church, increasing its capacity from 536 to 656. In 1881–82 the same architects carried out work at the east and west ends of the church, and added a central tower. By this time the only remaining parts of the original chapel were the nave roof and the south porch, which had been rebuilt outside the south aisle in 1852. Internal alterations were carried out in 1945, including the removal of the reredos.
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St. John's is an Episcopal Church located at 679 Farmington Avenue in West Hartford, Connecticut near the Hartford, Connecticut, city line. The parish was founded in 1841 as St. John's Episcopal Church in Hartford. The church's present building, designed by famed architect Bertram Grosvenor Goodhue, opened in 1909. It is noted for its reredos designed by Mr. Goodhue and executed by prominent sculptor Lee Lawrie;Wait, Gary E. A History of St. John's Church, 1841-1995.
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Damage during the Civil War was minimal, although there are pike marks on the stonework. The church may have been fortified as part of the defences of the castle, a Royalist stronghold.Hillier (2010) p. 13. Around 1670, the church was refurbished, a gallery was built at the western end of the nave, and the carved reredos and a large wooden Royal coat of arms, now at the west end of the nave, were acquired at the same time.
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Following the civil war, the manor was demolished, and the present Chicheley Hall built on the site. All that remains of the old manor today is one Jacobean over-mantel with termini caryatids, and some panelling in the 'new' Chicheley Hall. The parish church is dedicated to St Lawrence and has a perpendicular style central tower with large windows. The chancel, which contains a fine plaster depicting floral wreaths in relief, and a stone reredos, was rebuilt c.
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The choir is the work of Thomas Garner (who is buried there), dedicated in 1905. The nave by Giles Gilbert Scott (c. 1923–25) remains unfinished, with its western wall in crude Lias stone standing bare and undecorated. The Lady chapel is acknowledged as one of the most complete and successful schemes of Sir Ninian Comper, with a reredos and altar furnishings incorporating medieval fragments and a reliquary containing the skull of St Thomas de Cantilupe.
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The church was extended eastwards and the chancel rebuilt in the 17th century. A restoration was carried out by Henry Kennedy of Bangor in 1848, and again in 1893 when it was re-plastered and re-decorated, with some new joinery work for £230 (). More work was completed in 1899 when the walls were boarded, an oak reredos installed and encaustic tiles laid round the altar. This was carried out by Evan Parry of Menai Bridge.
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The Saxon tower of St John the Baptist Church, Alkborough Earliest records show a church here in 1052, and the tower is of typical Saxon design. The architecture of the church shows there have been many changes to the building throughout its long history. The font, although set on a modern base, dates back to Norman times. The oak reredos behind the altar was made by the famous Robert (Mouseman) Thompson (also known as Mousey Thompson) of Kilburn.
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His signature mouse can be seen on the right hand upright. The reredos was placed in the church as a memorial in the early 1920s. Under a capping stone set in the floor near the tower entrance, lies what is believed to be a stone of Romano-British origin. For some years the church housed a pair of Grotrian-Steinweg grand pianos belonging to the Goldstone and Clemmow piano duo, and was used for many of their recordings.
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The reredos in the north chapel dates from around 1700, and includes Corinthian columns and pilasters. The stained glass includes a window in the baptistry depicting the Good Shepherd, dated 1917, by Shrigley and Hunt, and three windows from the 1930s by A. K Nicholson. An altar table dated 1678 and the parish chest of 1679 were both made by Robert Harper. Most of the church plate was donated around 1760 by the vicar at that time, Rev.
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The bishop's pulpit is made of Tennessee marble, with five niches, each of which contain reliefs that depict scenes from the life of Christ. A presbytery, which houses the officiating clergy of St. John's, is located between the chancel and the choir. The reredos behind the sanctuary depicts four scenes from the Old Testament on the left (north), and four from the New Testament on the right (south). Behind the altar is a wrought iron enclosure.
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The Reredos in front of the church is an outstanding example of his woodworking skills. Made from over four hundred pieces of chestnut, oak, poplar, holly, cherry, beech, and pine, they were often carved during missionary trips to the Chapel of Rest in Happy Valley, North Carolina, and the Chapel of Peace in Witnel, North Carolina The architectural design is Gothic perpendicular from the 14th and 16th centuries. While Rev. Oertel carved other reredos and altar rails, the one in St. James is considered to be the most intricate and notable. The altar painting (1872) is layered oil on canvass with gold gilt, and depicts Jesus administering Holy Communion to male and female communicants. While at St. James, friends in New York donated the 100-year-old pump organ from Christ Episcopal Church (Tarrytown, New York). The organ, dating from about 1770, was the first instrument to enhance the service in Lenoir. Rev. Oertel rebuilt the damaged organ, making new pipes, and a new wind chest and bellows.
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There is also what remains of a piscina, or ceremonial wash basin: it has lost its projecting bowl but the niche is clear. There is a blocked doorway that formerly led to and from the chaplains' quarters, affording quick access to the chancel. The doorway on the north of the chancel leads to the vestry, which is the former Corbet mortuary. The reredos was designed by Pountney Smith, and contains high relief sculptures depicting the Nativity, the Crucifixion, and the Resurrection.
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Lalique was best known for his creations in glass art. In the 1920s, he became noted for his work in the Art Deco style. He was responsible for the walls of lighted glass and elegant coloured glass columns which filled the dining room and "grand salon" of the and the interior fittings, cross, screens, reredos and font of St. Matthew's Church at Millbrook in Jersey (Lalique's "Glass Church").Jane Ashelford, 1980, "Lalique's Glass Church," The Journal of the Decorative Arts Society, Vol.
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The building was converted into a store and remained standing at least until the 1870s, though it was later demolished. When the site was cleared for a new building in 1955, the foundations of La Castrense were uncovered and studied by archaeologists. Before disposing of the chapel, Lamy had the reredos and a stone medallion from the facade removed and transferred to La Parroquia, the main parish church of Santa Fe at the time. Later this church was replaced by St. Francis Cathedral.
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It is recorded as Ecclesia de Landinam in the Norwich Taxation of 1254 with a value of £1 6s 8d. The majority of the church was rebuilt in the 19th century, coinciding with the restoration by George Edmund Street. The church still retains some original features, however, most notably the northern wall of the chancel. The church has a wooden reredos, two old tomb recesses in the sanctuary, a damaged perpendicular font and a number of 17th-century carved choir stalls.
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Reredos at St Martin Ludgate The wooden furnishings of St Stephen Walbrook were prepared by the carpenters Thomas Creecher and Stephen Colledge, and the carvers William Newman and Jonathan Maine.S. Bradley and N. Pevsner, London: The City Churches (The Buildings of England), (Yale University Press, London and New Haven 2002), pp. 129-30.W.G. Hiscock, 'Jonathan Maine – His work at Oxford', Country Life Vol. 104 (1948), p. 1398. Newman rendered accounts in 1677–78 for the altarpiece, which incorporated the Royal ArmsR.
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It is thought that this is the coffin of Hugh (or Hugo), rector of the church, who died in about 1240. All the furniture of the church dates from the building of the present church, including the font, which is made of grey marble. In the sanctuary are an oak altar and choir stalls, a stone triple sedilia, and a reredos in grey Purbeck marble with a cross in its centre. In the church are memorials dating from the 18th and 19th centuries.
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Kelly's Directory of Lincolnshire with the port of Hull 1885, p. 477 The village church, dedicated to St Luke, was built between 1869 and 1871. It is constructed of red brick in Early English style and consists of chancel, nave and south porch, and an alabaster reredos with evangelistic symbols. In 1964 Pevsner reported a bellcote and lancet windows, and within the church a large early 19th-century painting of the Adoration of the Shepherds, "no doubt the altarpiece of an important church".
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Another part of All Saints parish was split off to join part of Emmanuel parish as a new parish for St Mark's Church, Forest Gate in 1894. George Dyson and George Gilbert Scott rebuilt All Saints in 1847-1849, replacing the box pews with modern pews that allowed for more free sittings and probably altering the old nave dormers into their present configuration. Scott was called in again in 1865-1869, removing the west gallery, inserting new windows and designing a new reredos.
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The single bell was cast in 1913 by John Warner & Sons of Spitalfields. Nikolaus Pevsner referred to the church in his Buildings of England as "a fragment of a major medieval church". The interior has a rood screen with a high triumphal crucifix over an arch that is thought to have been crafted by Robert Bridgeman of Lichfield to designs by Tapper. The high altar reredos was designed by Tapper and made by Jack Bewsey who also designed most of the stained glass.
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From those photographs the central niche appears to be unchanged in condition since that time. The mission church, the mural, and the hatch opening to it are documented in architectural drawings. Detailed drawings of the sanctuary interior show painted ornament on the north and south walls, of which one design clearly resembles the images of hearts found behind the reredos. This design painted in red on natural white plaster is obviously a rooster, with intricately painted feathers and a heart in the center.
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Monument to John Wrey (d.1597), Tawstock Church The large monument to John Wrey and his wife Blanche Killigrew exists in St Peter's Church, Tawstock, against the east wall of the north transept. It takes the form of a gothic altar tomb with three-tiered altarpiece or reredos behind, the lowest tier of which resembles a triptych. It was moved from St Ive Church in Cornwall in 1924 by Sir Philip Bourchier Sherard Wrey, 12th Baronet (1858–1936), of Tawstock Court.
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The church is thought to have belonged to Usk Priory in the 12th century, but no part of the church can be dated to before 1300. The earliest datable element is the reredos, although the nave and chancel may be contemporary with it. The tower and the main window in the nave are 15th century. The roof of the nave appears to have been rebuilt in the early 18th century, probably as a result of damage suffered in the Great Storm of 1703.
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The choir stalls and the organ case are carved with angels playing a variety of instruments. On the vestry door is a carving of the Annunciation. The rood screen has depictions of saints, and carries a plain cross. The reredos includes a painting by James Cranke, and is flanked by carved figures of Virgin Mary and Saint Michael. The three-decker pulpit dates from the 18th century, and has a tester of 1912, which consists of a scallop carried by putti.
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At the centre of the reredos is a carved, gilded pelican feeding her young from her own flesh (a traditional image of Christ who feeds his followers with himself in Communion). The main altar comes from the former local mission. The one from Lombard Street is in the Chapel at the south end of the narthex). Behind the choir stalls, which flank the chancel, are two wrought-iron sword rests for the ceremonial sword of the Lord Mayor of London.
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William Butterfield designed the north window as a "memorial" to Dr O'Brien and his wife Octavia, who were still alive at the time (they both died in 1884, 14 years after the window was installed), another window on the northeastern side, and the lectern, cast in brass and featuring an eagle and St Patrick. This dates from 1873. A red sandstone reredos of the Crucifixion of Jesus was presented by Somers Clarke in 1887. Sir George Gilbert Scott designed the pulpit.
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St Catherine's Chapel, dedicated to Catherine of Alexandria, lies to the south of the old chancel adjoining the south transept. Dating from around 1320, it contains two recessed medieval tombs in the south wall, one of which contains a tomb slab decorated with a carved floriated cross. The 16th-century wall monuments commemorate Waterhouse family. The chapel was restored around 1900 and the alabaster reredos – a copy of high altar screen in Winchester Cathedral – and the stained glass windows date from this period.
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St. Joseph Parish Church is designed along the cruciform lines of the Gothic period. As such, the main floor of the church contains the narthex, nave, transept, sanctuary, and sacristy. The bottom floor contains Father Doyle Hall, a meeting hall, as well as the church's restrooms. Altar of St. Joseph Parish Because the parish church was founded prior to the Second Vatican Council, the church contains a high altar, behind which the large portrait of St. Joseph served as a reredos.
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The church was built for the English-speaking community when the services at St Catherine's were conducted in Welsh. It was designed by the Chester firm of Douglas and Minshull. The foundation stone was laid in 1899 by Mrs Eleanor Frost who also paid for many of the church furnishings, including the reredos, altar, rails, screen and the pulpit. The tower was added in 1912 after the death of John Douglas, when the firm was known as Douglas, Minshull and Muspratt.
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The five-bay arcades are carried on square columns with angled corners and have foliated capitals. The chancel is paved with Minton encaustic tiles. The marble reredos dates from 1888, and the alabaster altar rails from 1900; both were donated by the daughter of Rev John Barclay, a former vicar of the church who died in 1866. Mural tablets, some of which were moved from the old church, commemorate members of the Brooke family and previous vicars of the parish.
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The new chancel was altered further by the addition of multicoloured paintwork and a marble reredos in 1913, during the short incumbency of Reverend Henry Venn Elliott's grandson, also called Henry Venn Elliott. The 3rd Marquess of Bristol paid for this work. In 1873, St Mark's became the parish church of Kemptown; St George's Church had originally held this status. By the 1980s, however, attendances were falling, and the Diocese of Chichester declared the church redundant as from 1 May 1986.
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The south aisle, western porch, morning chapel and choir vestry was added in 1892–93. The interior is built with brick, manufactured in Bridgwater, while the bricks used in the piers of the arcades were made in Exeter and specially chosen for their strength. The chancel and passages were paved with tiles from Mintons and the reredos' tiles manufactured by Craven Dunnill & Co. Ltd of Jackfield. The windows of the chancel and clerestory were painted by Hardman & Co. of Birmingham.
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The west tower was built later in the 15th century. The church contains many memorial brasses and sculpture, including the 1689 tomb of Sir Richard Winwood carved by Thomas Stayner. The stone effigies depict the deceased lying in full armour, while his widow, Ann, who paid for the tomb, rests beside him, half sitting regarding her husband. In the chancel are a reredos and sedilia by William White who was responsible for the heavy Victorian restoration and rebuilding of the chancel in 1877.
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Inside the church, the arcades have pointed arches and Corinthian capitals; the piers of the north arcade are octagonal, those of the south are round. The font is early Norman, and is carved with figures, including Adam and Eve, and Saint Michael spearing a serpent. The font is considered to be the oldest man-made article in Kirkby. On the east wall of the church is an opus sectile reredos of 1898, designed by Henry Holiday and depicting the Last Supper.
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The font is dated 1847 and is Perpendicular in style; its cover was made from the material of an 18th-century chandelier. The alabaster reredos was designed by John Douglas and made by Hardman & Co. The pews are carved with poppyheads and the pulpit and stalls, dated 1856, were designed by Scott. The fittings in the north-east chapel were designed by Sir Thomas G. Jackson in 1921 as a war memorial, as were both organ cases, which are dated 1923.
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Interior of the church A medieval stone ambry is located west of the sedile which is located on the south wall of the chancel and formed from a relocated medieval trefoiled two-light window. The east end of the chancel is occupied with a five panel wooden reredos of circa 1736 featuring the Ten Commandments on the central panel with the Lord's Prayer and religious texts on the outer panels. The hexagonal wooded pulpit is 18th century and the stone font is octagonal.
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The assemblage was added to the National Register of Historic Places in 1997. The church contains many fine stained glass windows. A window depicting the Last Supper is done in an English glass style by the studio of George W. Spence of Boston, and is set in the chancel over the altar reredos. A series in the clerestory depicting the life of Christ was designed and begun by the Charles J. Connick studio of Boston, and later completed by the Whittemore studio.
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Trinity is a parish in the Episcopal Diocese of Olympia, known as the Episcopal Church in Western Washington, a diocese of the Episcopal Church in Washington state west of the Cascade Range. The church building was designated a Seattle Landmark in 1976 and has also received state landmark status. It was added to the U.S. National Register of Historic Places, in 1991. The building was severely damaged in the 2001 Nisqually earthquake, but the altar, reredos and windows all survived fully intact.
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Inside the church the six-bay arcades are carried on piers of polished granite, and have capitals carved with foliage. The reredos and altar are dated 1908 and are decorated with painted angels on a gold ground and are in traceried frames. There are also paintings of angels on the east wall, and carved choir furnishings with an integral organ case. The stained glass includes a First World War memorial at the west end containing a depiction of Saint George.
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Advent Hunstone (known as "Old" Advent) was from a family of wood carvers from Tideswell Derbyshire. He worked in late 19th and early 20th centuries. His work includes a combination of natural, representational and symbolical material. Other nearby churches in Derbyshire where Advent Hunstone's work may be found include the lych gate at Burbage, the reredos and high altar at Dronfield the organ cases and choirstalls at Matlock St Giles, various furnishings at Millers Dale and at Wormhill the chancel furnishings.
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The nave and chancel are separated by an ancient chancel arch which has recesses for a reredos on each side. These may be contemporary with the 12th-century structure. Above the chancel arch are the remains of a 13th-century wall painting showing Christ in Judgement. It has been dated to 1230, and depicts the ascension to Heaven of the dead and the weighing of their souls by Jesus Christ, who is flanked by the Virgin Mary and John the Baptist.
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The architect's original plans had included a grand tower of similar dimensions to that of St John's in Cardiff city centre. The tower was begun in 1913 (a lady chapel being installed at the same time), but the plans proved overambitious, and only the lowermost portion of the tower was ever built — which does not even stretch above the roof of the nave. The reredos was installed by John Coates Carter in 1924. The church became Grade II listed in 1975.
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The altar rails contain panels between large posts. The altar frontal was designed by Wilson; it is in cast copper and contains figurative panels. These depict, on the left, the Annunciation with the Virgin Mary and a dove facing a kneeling angel and, on the extreme right, the Rev Tooth and his guardian angel. The reredos is also in beaten copper; it depicts a vine springing from a chalice, and at the sides are bluebells springing from the monogram "IHS".
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The Stations of the Cross, around the perimeter of the garden, each incorporate a fragment of stone from a religious establishment dedicated to Our Lady and destroyed at the time of the Reformation."Carmelite Shrine of Our Lady of Doncaster undergoes restoration", Independent Catholic News, 4 November 2009 The new church is octagonal in shape. John Bentley’s Tabernacle Door, the four reredos panels and the altar designed for the old church are incorporated in the Blessed Sacrament Chapel of the new church.
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West prospect in the seventeenth century The high altar The cathedral was vandalised during the English Civil War in 1643 by Parliamentarian troops. As was common at the time, almost all the stained glass and the medieval choir stalls were destroyed, and the high altar and reredos were demolished, as were the cloisters and Lady Chapel. All the monuments and memorials of the Cathedral were also damaged or destroyed. Some of the damage was repaired during the 17th and 18th centuries.
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Withers' only cast-iron building stands at 448 Broome Street, Manhattan. When A. J. Bicknell published Withers' Church Architecture (1873),Withers, Church architecture: plans, elevations, and views of twenty-one churches and two school-houses, photo-lithographed from original drawings, with numerous illustrations shewing details of construction, church fittings... (Bicknell: New York) 1873. it was a sign that Withers' reputation was secured. Among his prestigious commissions was the "William Backhouse Astor, Sr. Memorial Altar and Reredos" (1876–77) at Trinity Church.
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The choir stalls contain 62 14th-century misericords which are of outstanding beauty — several of New College's misericords were copied during the Victorian era, for use at Canterbury Cathedral. The niches of the reredos were provided by Sir Gilbert Scott and were fitted with statues in the 19th century. Near the east end of the chapel is the Founder's Crosier, a relic overlaid with silver gilt and enamel that resembles a pastoral staff. This was exhibited at South Kensington in 1862.
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The Gaunt's Chapel, Bristol The Gaunt's Chapel, Bristol Miles Salley (died 1516) was a late 15th-century Abbot of Eynsham Abbey and Abingdon Abbey and an early 16th-century Bishop of Llandaff. Salley was Abbot of Eynsham in Oxfordshire in the 1490s. He was appointed Bishop of Llandaff, where he is remembered for his building work at the Bishop's Palace in Mathern in Monmouthshire. He also rebuilt the chancel and south aisle of The Gaunt's Chapel, Bristol, and donated the reredos.
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In 1875, a bequest from the family of parishioner George Tweddle made it possible to complete it, and the younger Upjohn obliged. The Tweddle bequest also paid for the bells, cast at the Meneely Bell Foundry in nearby Troy. Ten years later the chancel was expanded, and a new altar and reredos, designed by Upjohn as well, with angels sculpted by Louis Saint-Gaudens, were added, followed by the pulpit a year later. By 1880, the 1860 organ had seriously deteriorated.
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The nave and chancel are separated by a tall chancel arch with moulded shafts, and the triple-lancet east window is set in a recessed arch flanked by marble shafts. There is a complete scheme of stained glass by James Powell and Sons, installed between 1885 and 1892. Based on the Te Deum, the scenes include the Ascension, the Cherubim and Seraphim, the Apostles, the Prophets, Christian martyrs, and Saints Ambrose and Augustine. James Powell was also responsible for the reredos.
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The nave is very lofty and the interior of the roof is elaborately decorated with colour. Bold figures of Our Lady and St John on either side of a crucifix appear on the reredos, in front of which stands one of the most effective altars we have seen of late. It is formed of sweet cedar, and is richly ornamental with gold and colour. The chapel as a whole is remarkably effective, and has a solid and substantial look which is highly satisfactory.
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The donor, Mollie Magill Rosenberg, was spouse to Col. Henry Rosenberg, C.S.A. Henry served as Switzerland's consul to Texas after 1869. Mrs. Rosenberg attended the Columbian Exposition in 1893, where the High Altar and its Reredos were on display in the Swiss Pavilion. Like the Oxford Movement, the Columbian Exposition highlighted revival, rather than progressive, movements in the arts and architecture. Abrupt changes in peoples’ lives during industrialization were thought to be ameliorated by antiquarian and, allegedly, more ‘authentic’ forms.
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The present church incorporates the original tower and much of the brick and fragments of the late Victorian building. The interior is a mixture of styles, with the parabolic arches favoured by Grant contrasting uneasily with the Perpendicular shapes of Hellicar. The reredos and choir stalls survive from before the war; the original baptismal font was accidentally broken during the war and the present one is a 1950s replacement, as are the pipe organ (designed by Rushworth and Dreaper) and lectern.
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The reredos seems to be a composite of salvaged pieces from different sources. The Free Church building dates from 1906 and replaced a church on the same site formed in 1824 by members of Zion Chapel in East Grinstead and the Countess of Huntingdon's Connexion. The village has two pubs, the Crown and the Red Lion. Facilities for football, netball, five-a-side and tennis are available on the large recreation ground while the cricket club now has its own ground.
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Among several places of worship the chief is the Church of St Mary; this has a north porch and windows dating from the 14th century, besides a slender spire; but it has been much altered by restoration. It possesses a fine painted reredos, and has been designated by English Heritage as a grade I listed building. The Church of St John the Baptist in Blake Place was built by the Revd. John More Capes and designed by John Brown in 1843.
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Gigantic reredos dwarfing the altar of St. Michael's Church, Munich During much of the second millennium, altars in western Europe, which for the most part were then placed close to a wall or attached to it. were often backed by a painting or sculpture that visually seemed to form a single unit with the altar. Late Gothic triptych over altar, Hallstatt, woodcut 1858 There has been no Church legislation on these artworks, which vary enormously in form. The terminology, too, is somewhat fluid.
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Colum Hourihane, The Grove Encyclopedia of Medieval Art and Architecture (Oxford University Press 2012), Volume 1, p. 44 The term "altarpiece" is applied very widely to them. A reredos is normally a quite large altarpiece placed on the ground between the altar and the wall and can include paintings or sculptures and may even hold stands for flowers and candlesticks. A retable is normally placed on the altar itself or on a stand behind it or may be attached to the wall.
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Sánchez died in 1633 and was replaced by another companion of his order, Francisco Bautista, who built the facade and reredos in Baroque style. In 1669, Bautista left his place to Bartolomé Zumbigo, native architect of Toledo, who finished the towers and the facade. San Ildefonso was consecrated in 1718, although the sacristy, the main chapel and the octave, which contains the reliquary were incomplete. In 1765, the temple was finally completed under the direction of Jose Hernandez Sierra, architect of Salamanca.
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The interior of the new church was 78 feet long, 46 feet wide and 32 feet high, with round-headed windows. James Peller Malcolm called Wren’s church "so plain as to be indescribable", noting only the Corinthian reredos, "the usual tablets" and the lack of an organ. There was a Portland stone tower, about 100 feet high, topped with a perforated parapet, with vases at its angles, and a spire—described by James Elmes as "remarkably picturesque"—with clock, weather-vane and cross.
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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.
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The other statues are the work of Tower and depict St Edward the Confessor, St George (with dragon), St Michael and St Matthew. The High Altar and reredos were originally under the east window, surrounded by wooden panelling. This panelling was removed after the fire and beneath it was discovered the mosaic mural and painted arcading you see today. The recent addition of a modern carving of the Madonna and Child maintains the creative link between the church and the arts.
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The chapel was divided from the chancel and aisle by iron grills, and approached by a polished Torquay marble step was the ornate altar and reredos. New seating of oak was placed on oak platforms and the floor. The fronts and back were carved and traceried, and the ends of the seats had fleur de lis termination, and the sides had shields with sunken carved panels with scenes from The Passion. The work was carried out by Harry Hems of Longbrook Street, Exeter.
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The northeast chapel is dedicated to the Passionist saints and has a painting of the St Paul of the Cross by M.A. Laby. The Lady chapel is from 1958, the altar is of plain marble with a marble reredos with mosaics showing the Annunciation and Coronation of Mary. The Carrara marble statue of the Virgin (1897) is by Porter of Fulham and is from the earlier chapel. Next to the chapel is a wooden sculpture of St Dominic Barberi by John O’Rourke (1999).
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Fred Palmer in 1931 Late in the 13th century the nave was widened by the addition of north and south aisles with four-bay Gothic arcades. Other features from this period include triple sedilia in the chancel, a south chapel adjoining the west side of the south transept and a doorway in the north transept. Early in the 14th century a carved stone reredos was installed in the chancel. It represents Jesus Christ and his 12 apostles, each in a crocketed niche.
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An early 13th- century styled piscina with a marble colonette is in the chancel and another, with a trefoil head of 14th-century origins, in the Lady Chapel. The octagonal font with traceried bowl now stands at the west end of the north aisle. The beautifully painted panels of the reredos depicting saints was the work of Sister Myra of All Hallows' Convent, Ditchingham. In 1858, the stonework was restored and the church refitted with open benches, oak pulpit, etc.
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In the late 1930s and early 1940s, there was a renovation of the cathedral's main altar area under the guidance of Archbishop Francis Spellman, who later became cardinal. The previous high altar and reredos were removed and are now located at Spellman's alma mater, Fordham University, in the University Church. The new items include the sanctuary bronze baldachin and the rose stained-glass window. The altar was further renovated in the 1980s under the direction of Cardinal John Joseph O'Connor.
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Chiefly of the Perpendicular Period Cambridge University Press The high altar with the reredos by George Frederick Bodley The church was owned by Lenton Priory from 1108 to 1538History and antiquities of Nottingham. James Orange. Hamilton, Adams & Co., 1840 and the monks took the living of the church as Rector, and appointed a Vicar to perform the daily offices. In 1513, a school was founded in the church by Dame Agnes Mellers as The Free School of the Town of Nottingham.
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Retrieved 18 July 2018 St Alban's Church is described in trade directories as of flint, with a nave, south [actually south-east] porch, a west turret with one bell [no evidence of such today], and a chancel containing a credence, piscina and sedilia. Memorial windows are to the Houblon family and to Miss Archer-Houblon. There are 220 sittings for worshippers. A new lychgate was added to the churchyard in 1907, and an oak reredos to the chancel in 1913.
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Stained glass windows provide ribbons of color between the tetrahedrons, and progress from darker to lighter as they reach the altar. The chancel is set off by a crescent-shaped, varicolored reredos with semi-precious stones from Colorado and pietra santa marble from Italy covering its area. The focal point of the chancel is a high aluminum cross suspended above it. The pews are made of American walnut and African mahogany, the ends being sculpted to resemble World War I airplane propellers.
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The Altar and the Painting in this Chapel Come from the old St George's. the Painting was a gift to the old cathedral in 1871 and is a copy of Vincenzo Foppa's Adoration of the Magi by Henry Duke. The paneled teak Reredos commemorates Archbishop William Marlborough Carter and bears his private arms and those of Eton and Pembroke College where he received his education. This Chapel is a memorial to Archbishop Jones and his Bronze effigy lies on an empty tomb on the south side.
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The crypt was redeveloped by the church recently and is now home to 'InSpire', which is home to many facilities available to the local community, including a digital arts and media centre, an IT suite, crèche, conference and performance spaces, and meeting rooms. A café is open to the public in the crypt. HMDW Architects designed the project, and are the quinquennial architects for the building. The main worship space was restored, including work to the reredos, and the installation of a new lighting scheme.
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The surviving reredos at St Martin Ludgate may incorporate Newman's work, in the cherub heads, palm fronds and urns featured within the tall pedimented structure. Work at this church in 1683–86 was carried out by three joiners, Athew, Draper and Poulden, and by the carvers Cooper and William Newman.Bradley and Pevsner, London: The City Churches, p. 103. Newman's involvement is shown in accounts for 1683–86: 'XXIX: St Martin's Ludgate Hill', in The City Churches, Vestry Minutes and Churchwardens' Accounts, Wren Society XIX, pp. 29-31.
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Internally, the Pro-Cathedral is dramatically different from the two main cathedrals of Dublin. Its mixture of Greek and Roman styles has proved controversial, being variously described as an artistic gem and an eyesore. Its main aisle leads up to an altar, behind which a stained glass window of the Blessed Virgin Mary (the Saint Mary of its name) is visible. For most of its existence it possessed a massive Victorian altar and reredos by Peter Turnerelli, a Belfast born sculptor of Italian parentage.
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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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A notable feature inside the building is the quality of the woodwork, constructed from oak grown on the Kingston Lacy Estate. Also of note are the pews, each end of which is carved with a Bankes' family fleur-de-lys, and the choir stalls. The glittering tiled reredos is by Carters of Poole, who used 'battered brass' to form the golden wings of the angels and mother-of-pearl for their halos. On either side, it is flanked by Sanctus angels engraved directly into the stone.
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The rooster is a Christian symbol of the resurrection of Jesus. During the late 1980s, Norman Neuerburg, a noted mission historian, crawled behind the altar in the cramped space to draw a sketch of the mural. In the 2000s, archaeologist Eric Blind and artist Ben Wood of the Mission Dolores Digital Mural Project captured the first photographs of the mural, keeping the 1796 reredos intact. Digital images were displayed to the public in a projection display onto the interior dome of the Mission Dolores basilica.
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Visitors enter the church through the existing tower into a barrel vaulted nave. At the centre is a dome, supported on four Ionic columns, which is lit by a lantern above. The barrel vault extends into the aisles from the dome in a Greek-cross form, leaving four flat ceilings in the corners of the church. The church is well lit by plain glass windows in the aisles and originally there was a large east window in the chancel, that is now covered by a reredos.
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153 The furniture in the hall was designed by, and the chairs were built by, Edward Barnsley. Lord Nuffield's coat of arms are displayed over the fireplace, carved from a single piece of stone, and his portrait, painted by Sir Arthur Cope, hangs in the hall. The chapel, on the south side of the college, can seat forty people. It has five abstract stained glass windows that were designed by John Piper and executed by Patrick Reyntiens, and a metal reredos with a bronze crucifix.
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The 1925 Haverford College yearbook notes that Gibbs, "the well-known painter and writer of best-sellers", had addressed that school's English Club on the subject of "Writing Novels". Gibbs was for many years a vestryman of the Episcopal Church of the Good Shepherd in Rosemont. In 1929 he created seven paintings for the church's High Altar reredos as a memorial to his parents. The center panel was a Virgin and Child, flanked by panels depicting other biblical figures from the Old and New Testaments.
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In 1189 the patronage was recovered from the Priory by John le Sor, Lord of Tolverne, and from that date the incumbents have been Rectors. The current church building dates from the 13th century. It was consecrated in 1216 by Simon of Apulia, Bishop of Exeter. It was restored in 1872 and re-opened by the Bishop on Monday 18 November 1872 who arrived at the church on HMS Ganges, the guest of Captain Tinklar.. New pews and the pulpit and reredos were provided.
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This structural reworking required the complete removal of Rector Harwood's stenciled nave ceiling. Visually strong gilt plaster groins rising from the limestone column surrounds formed the new nave ceiling, providing an effect reflective of a High Gothic cathedral."Repairing Historic Trinity Church, New Haven, Conn.", The Churchman Magazine, November 10, 1906, p. 722 On March 24, 1912, the Indiana limestone reredos in the chancel with its statues of Jesus, Mary, the Prophets and The Four Evangelists topped off by winged angels was dedicated by the Rt. Rev.
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Many rounded lancet windows of stained glass illuminate the interior; among the most prominent of its windows are those of the sacristy, which feature deep blue stained glass. The church's heavily decorated interior includes elaborate altars and a reredos built in the Romanesque Revival style. A renovation project in the 1960s removed many of the exterior decorative features, including tops of the side pilasters, trim on the rounded windows and tower, and border around the upper exterior nave. The church interior has not been renovated as extensively.
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Some of the works depicted the lives of saints from Cornwall. One of Annie's works for the church was a Joan of Arc painting that was placed just inside the south door of the church. Ernest Procter made a work that depicts St Mawes, St Kevin and St Neot for the pulpit and a reredos of the Altar of the Dead. Annie, Dod and Ernest Procter, Gladys Hynes, Alethea and Norman Garstin and Harold Knight all made paintings for the sides of the stalls in the church.
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The north face of the church The windows exhibit Perpendicular tracery and there is a five-light east window from 1846 containing glass collected on the continent. At the east end the sanctuary has a marble arcade with mosaics by Salviati of Venice, and the reredos is made of coloured marble and alabaster by George Edmund Street. A peal of 13 bells was cast by Mears in 1842. These bells were then recast into the current peal by John Taylor of Loughborough in 1932.
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Pevsner, Nikolaus; Harris, John; The Buildings of England: Lincolnshire p. 704; Penguin, (1964); revised by Nicholas Antram in 1989, Yale University Press. A church organ was added at the same time, at a cost of £140. In 1887 a carved oak Gothic reredos was installed.Kelly's Directory of Lincolnshire with the port of Hull 1885, p. 701Kelly's Directory of Lincolnshire 1933, p. 598 In the 19th and earlier 20th century, Welby was part of the rural deanery of Grantham North, and archdeaconry and Diocese of Lincoln.
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Saint Francis Xavier's Church is a frame, rectangular building with two octagonally shaped brick additions, located on a neck of land for accessibility to early worshippers arriving by boat. The center wooden section is understood to be the oldest part of the structure and was dated through dendochronology to circa 1731. The semi-octagonal brick vestibule dates to 1766/1767 and the semi-octagonal sacristy dates to 1816. The church has simple Federal woodwork, a mid-18th-century reredos, and an elegant triple-vaulted ceiling.
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Early in the 20th century, a carved timber reredos was added inside. A World War I memorial was erected next to the entrance porch soon after the war ended, and the original north transept was later converted into a vestry to form a memorial to victims of World War II. The church had been damaged by wartime bombing in February 1943, although it was soon repaired. The distinctive corner turret was comprehensively restored in 2003: work was carried out on its clock, bell, spire and the weathervane.
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Restoration and repair of damage sustained in the Second World War was carried out in the immediate post-war years. Further restoration and re-ordering were carried out in 1971–72 at a cost of £80,000. This included the erection of a new free- standing altar located under the crossing, following the Second Vatican Council. A further re-ordering of the choir (chancel) took place in 1988, including the removal of the original stone High Altar and Reredos, installed in 1853-55 to designs by George Goldie.
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In the reformation the cathedral was taken by the Lutheran Church of Finland (Sweden). Most of the present interior also dates from the restoration carried out in the 1830s, following the Great Fire. The altarpiece, depicting the Transfiguration of Jesus, was painted in 1836 by the Swedish artist Fredrik Westin. The reredos behind the High Altar, and the pulpit in the crossing, also both date from the 1830s, and were designed by german architect Carl Ludvig Engel, known in Finland for his several other highly regarded works.
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There were five windows on the north side, and four on the south, but the only illumination at the east end was through two small windows in the side walls of the recess housing the reredos. In 1880 additional lighting was provided by inserting a rectangular skylight in the ceiling. The walls were panelled with oak to the height of . Above the northern doorcase stood a wooden figure of Death, about four feet high, and over the southern one was a similar figure of Time.
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In the 1920s Sir Ninian Comper improved the interior of the church by adding an alabaster reredos to separate nave from chancel adorned with the gilded angel figures of St George and St Martin. The chancel was restored in 1929, after the east window stained glass was finished in 1923, as too was a north transept chapel repair. A war memorial was also erected in 1920 but inside the chapel. In the graveyard Comper built a tomb in 1925 for Herbert Astley, the court's proprietor.
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Internally, the arcade between the nave and the aisle has octagonal piers. The wooden furnishings, including the reredos, the stalls, the pews and the organ case were designed by Douglas. The stained glass in the east window (1905), and in the easternmost window on the south wall of the nave (1904) is by Kempe. The north window in the chancel has stained glass designed and made by Morris & Co. (1907) and in the north transept is glass dating from the late 1920s by Heaton, Butler and Bayne.
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The rood screen is 15th-century and not well preserved. The baptismal font is 18th-century.The Pilgrim's Guide to Devon's Churches, Cloister Books (2008) pg 94 The reredos consists of glazed tiles in "robust Victorian colours". The adjacent war memorial is a Grade II listed building. Carved in dressed granite, it is a copy of St Martin’s Cross in Iona in Scotland and is dedicated to the members of the Bishop's Tawton Parish who died in World War I; it was unveiled and dedicated by the Revd.
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However, the decision was made to retain the 1960s reredos instead of reinstating the original high altar. However, the tabernacle was returned to its rightful place at the centre of the church, and a new retable was built for it. On either side of the main altar are doors that lead to the sacristy. A new altar table was also installed, of white marble and a more sympathetic design than the previous one, with a roundel containing a depiction of the Agnus Dei at its centre.
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St Peter-in- Chains Church exterior A new St Peter-in-Chains was opened by Cardinal Heenan on Palm Sunday 1973 and the shrine transferred to the new church.Travis, Pat. "The Feast of Our Lady of Doncaster", Hallam News, 30 July 2019 The statue of Our Lady of Doncaster now stands in a circular shrine chapel on the north side of the church. Phyffers' statue stands in an oak reredos with modern stained glass windows depicting St Joseph, the Annunciation, the Nativity and the Assumption.
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The monochrome reredos is by Shrigley and Hunt. Two of the stained glass windows are by Heaton, Butler and Bayne, and one is by Kempe. On the south wall is a memorial board by the Randle Holme family of Chester to the memory of members of the Burgayney family who died between 1670 and 1693. It had been mislaid during the rebuilding of the church in the 1880s and was rediscovered at an auction some 70 years later by a canon from Chester Cathedral.
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Other projects included paintings (1894) for Pearson's chapel at St Antony's College, Oxford; the original architect of the nunnery had been his father. A painting of the Annunciation originally in St Margaret's Church, Burton upon Trent, is now in St Mary's Church, Claxby by Normanby. Other paintings from St Margaret's are a Crucifixion in St Paul's, Burton upon Trent, and the Agony in the Garden in St Andrew's, Stainton le Vale. The reredos formerly in St Mark's Church, Horsham, is now in St Mary's Church.
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In 2004 he worked with archeologist Eric Blind to capture the first photographs of the mural, keeping the 1796 reredos intact. He then projected digital images in a public display onto the interior dome of the Mission Dolores Basilica. On 14 April 2011 a recreated version of the mural was unveiled on San Francisco's Bartlett Street as part of the Mission Community Market. Since 2004 Wood has conducted a series of video projections at Coit Tower, mostly illuminating native San Francisco and California heritage.
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After the Lady Chapel had been completed, the two bays of the north choir aisle were rebuilt. Severe damage was done to the church in 1400 during the rebellion of Owain Glyndŵr; his forces also destroyed the Bishop's Palace at Llandaff. The damage was extensive enough to cause Bishop Blethyn to notify his fellow clergymen in 1575 that he believed the cathedral to possibly be damaged beyond repair. Most of the other damage was repaired, most notably by Bishop Marshall, whose reredos partly survives.
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Purves designed and executed mosaics (1948-1955) for the chapel for the American Battle Monument Commission in Draguignan, France where 861 Americans are buried. They died in the campaign of Southern France, Operation Dragoon, launched on August 15, 1944, which assisted the Normandy operations. He made a mosaic column for Colgate University and designed a granite bas relief for a Boston bank (1950-1953). He painted the reredos for St. Paul's Church in Duluth, Minnesota and another for a Lutheran church in Fort Wayne, Indiana.
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The chapel is decorated with an 18th- century retablo, or reredos containing a venerated image of Christ, in which Primitive and Baroque elements are mingled. The chancel contains an unusual double altar, in which a smaller altar of Carrara marble was incorporated into the existing larger one of local quarry stone, after the church was built. The organ in the east gallery was built in 1885 by Hook and Hastings, Op. 1244 (2 manuals, 18 registers), and rebuilt and expanded by E F Walcker & Cie. in 1960.
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In 1850, the increasing Catholic population meant that the church had to be enlarged and a school built. By 29 September 1853, the extension was completed with a new reredos by Augustus Pugin was added along with transepts to accommodate a new side chapel. A presbytery was also built so that the parish could have a resident priest and a Fr George Bridges SJ arrived into the parish. In 1854, St Stephen's School opened and from 1861 it was staffed by the Sisters of Mercy.
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The Ark A prominent feature of the synagogue is the Renaissance-style ark (containing the Torah scrolls) located at the centre of the Eastern wall of the building. It resembles in design the reredos of the churches of the same period. Painted to look as though it is made of coloured Italian marble, it is in fact made entirely of oak. Seven hanging brass candelabra symbolise the seven days of the week, the largest of which – hanging in the centre of the synagogue – represents the Sabbath.
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Yorkshire Gazette, Saturday 05 July 1862 p5 col.3: "Enlargement of Christ Church, Harrogate" There have been significant changes to the building in the 1920s (many major internal changes), the 1930s (the installation of the Comper reredos) and the 1980s (the building of the attached parish centre.) Christ Church has in turn planted a series of other churches across the town including St. Peter's (1870), St Luke's (1898), and St Andrew's Starbeck (1911). Like Christ Church itself, all of these are thriving Christian communities today.
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The carved walnut reredos depicting motifs of plants and human and animal figures, attributed to Baldino of Surso, are now in the Civic Museum of Ancient Art in Turin. The crypt contains frescoes from the thirteenth to the fifteenth century, some damaged by time. On the foundation pillar of the southern bell tower, a holy warrior is depicted, possibly representing a member of the Theban Legion. There is also some early work by Giacomino of Ivrea and a painting attributed to the Maestro di Oropa.
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As memorials of Overton a brass tablet was placed in Epworth parish church by the parishioners, a stained glass window and a reredos in Skidbrook church, and a two-light window in the chapter-house of Lincoln Cathedral. A stained-glass window [13 Nave - North Wall (ix)] in St James' Church, Louth, Lincolnshire has the dedication 'To the glory of God and in memory of John Henry Overton M.A. D.D., Pastor, Scholar and Historian born at Louth 4th Janry 1835, died at Gumley 17 September 1903'.
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The parish church of St Petroc, at , was restored in 1858 by the Victorian architect William White. It was originally built in the 14th century and is now Grade I listed.Images of England (John) Athelstan Riley, 1858–1945, was a notable benefactor of this church and responsible for employing Ninian Comper to restore it in 1908: his work includes the high altar, reredos and rood screen. Other features of interest are the monuments to Sir Roger de Lemporu, 13th century, and Andalusia, the Hon. Mrs.
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In 1901 the first serious report on the church's fabric showed the folly of using the relatively cheap Westwood stone, with weak buttresses and weathered stone. Between 1902 and 1904 the chancel was raised above the level of the nave and screens erected forming and organ chamber on the north and a choir vestry to the south. In 1908 the reseating of the church was completed, reducing the seats from 1033 to nearer 750. The reredos in All Saints' Chapel at the east end of the church.
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See Galatians 2:9. Peter holds the keys to Church; Paul holds the decapitating sword; John carries the New Testament to which he contributed; and James is supported by the cudgel of his martyrdom. Tennant Memorial Window. Christ and Saint John are depicted three times in the combined High Altar and Reredos: Church patron and the Christ served by the Church numbered in the Creator, Redeemer and Sanctifier. The “three theme” runs throughout the work, as in the trefoils – representative of the Holy Trinity – in peaked gables.
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Inside the church, the arcades have quatrefoil piers, pointed arches, and capitals with carvings that include the Four Evangelists, a ship, an anchor, seaweed, and the emblems of Saint Nicholas. There are also carvings of Solomon and the Queen of Sheba, Saint Peter, and Saint Nicholas. In the chancel are carvings of cherubs and angels, and wooden corbels carved with seaweed, fish, a cross, an anchor, a heart, and a crown. The oak reredos was designed by Doyle; it is high and is intricately decorated.
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On the wall of the aisle is a re-set section of a reredos dated 1709, an 18th-century painting of the Holy Family, and elaborately decorated boards inscribed with the Ten Commandments. The Commandments occupy two central panels, and are flanked by panels containing paintings of Moses and Aaron. On the floor beneath these objects is a long school desk carved with graffiti, and a 19th-century bier. Over the south doorway are the Royal Arms of Charles II in an oval frame.
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The parish of Christ the King was established in 1936. The congregation purchased approximately four acres of land for $35,000 and held early masses in the mansion that occupied the site. To construct the current cathedral, the parish demolished this structure and purchased adjacent land from the Ku Klux Klan which previously served as its headquarters. Architect Henry D. Dagit, Jr., designed the sanctuary in the Gothic Revival (French Neo-Gothic) style with touches of Art Deco in the interior, especially on the stone reredos.
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His father became a member of the Bruges Guild of St. Luke in 1505 as 'Harnoult van den Boske' with a son named 'Gilken van den Booeske'.Gielis Panhedel in the RKD During the years 1521-1523 he was mentioned in the archives of the Lieve-Vrouwe-Broederschap in 's-Hertogenbosch for working on doors of the same Maria reredos that Jheronimus Bosch had worked on before him. Later he was mentioned again in 1545/46 as 'Gielis van den Bossche tot Bruessel woenende' (living in Brussels).
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The ceiling of the plastered-wall chancel is painted blue over the sanctuary at the east, with rafters having painted stars; at the north the vestry is entered through a "wide" arch. At the south of the chancel is a piscina and a window seat, and at the north, a "large" aumbry, with the floor laid with encaustic tiles. Fixtures and fittings included a Perpendicular font, and an 1882-dated pulpit with "symbols of the Evangelists". The stone reredos contains a statue niche and quatrefoil details.
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Pollard and Pevsner describe the interior as being "glorious" and "richly coloured" due to the "resplendent display of Bodley fittings and the vibrant decoration". The citation in the National Heritage List for England states it is "one of the finest examples of Victorian polychromy". The walls and the roofs are all richly stencilled, and in addition there is a wall painting on the east wall of the nave by C. E. Kempe. The gilt reredos dates from 1871 and has panels painted by Kempe.
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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.
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Although Shipley was discharged, his notoriety ended his chances of emulating his father by becoming a bishop, and he remained Dean of St Asaph until his death over 40 years later. He busied himself in arranging for repairs and alterations to the structure of St Asaph Cathedral. During his term in office, the chapter house was demolished in 1779, the choir was rebuilt, and a new episcopal throne, pulpit and reredos were installed. Many of these alterations were funded by the St Asaph Cathedral Act 1814.
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Grace Cathedral has a significant collection of varied works by Jan Henryk De Rosen. Among these are a faux-tile mural behind the Chapel of Grace reredos from 1932, the mural in the Chapel of the Nativity's Adoration from 1946 showing the Holy Family with the magi and shepherds. At the donor's request, the original angels hovering above were removed by the artist, however constellations still mark their place. De Rosen also included a little image of his boyhood home in Warsaw in the mural.
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The second Trinity Church was built facing Wall Street and was consecrated in 1790. The current church building was erected from 1839 to 1846 and was the tallest building in the United States until 1869, as well as the tallest in New York City until 1890. In 1876–1877 a reredos and altar were erected in memory of William Backhouse Astor, Sr., to the designs of architect Frederick Clarke Withers. The church building is adjacent to the Trinity Churchyard, one of three used by the church.
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St Thomas' Anglican Church is a heritage-listed Anglican church located in the western Sydney suburb of in the City of Penrith local government area of New South Wales, Australia. The church forms part of the Diocese of Sydney. It was designed by Reverend Thomas Makinson, first incumbent priest and James Chadley and built from 1836 to 1838 by James Atkinson and William Chisholm (Atkinson also carved the pinnacled reredos himself). It is also known as St. Thomas Anglican Church and St Thomas Church of England.
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Architecture critic Chris Wilson described the building as "the last, great adobe mission". The facade is asymmetrical, with two battered towers of different heights separated by a recessed balcony above the main entrance. Inside, the church follows a traditional Latin cross plan with an aisleless nave, transept, and polygonal apse. The ceiling is supported on massive, corbeled vigas in the traditional manner, and there is a clerestory above the altar to illuminate the Reredos of Our Lady of Light which is installed at the west end.
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Henry Kennedy, the architect of the Diocese of Bangor, oversaw a partial but extensive rebuilding in 1882, which included reconstruction of the east wall and the addition of the porch on the south side. He also added an internal arch to mark the sanctuary as part of rebuilding or extending of the chancel. A reredos and some other fittings were added in the first part of the 20th century. St Mary's is still in use for worship and belongs to the Church in Wales.
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The chapel is long by about wide, lighted by plain Norman windows, having a chancel arch of the Early English Period, as it was verging on to the decorative style of architecture. The reredos and altar that were present in 1894 were placed there with permission of the College by members of the French Protestant congregation, to whom most of the furniture belonged. With one exception, all the tablets were in memory of French pastors, who from the days of the Huguenots had ministered there.Whitlock, p.
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Above and between these two figures is a marble dove. In front of the reredos is the altar, a gift from Cardinal Francis Spellman, who dedicated the Catholic Chapel on September 22, 1963. The altar is Italian white marble mounted on a marble cone-shaped pedestal above which is a six- foot sculptured nickel-silver crucifix. Along the side walls of the chapel are the 14 Stations of the Cross, also designed by Lumen Martin Winter, and carved from four-inch (102 mm) thick slabs of marble.
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There is a Lady chapel at the southeast corner, another chapel on the northeast side containing a memorial to casualties of the First World War, a vestry, porch and the tower, which contains bells and is topped by a battlemented parapet and a flèche. The west end, next to the tower, has a series of five lancet windows in a recessed pointed arch; above these is a statue depicting the Good Shepherd. The Lady chapel has stained glass, and the church's interior fittings include a reredos.
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The hammer-dressed grey sandstone building, which measures only 74 by 21 feet, comprises a nave and a chancel with a carved butternut screen. The interior roof, pulpit, altar and open bench pews are also crafted of local butternut. The interior is richly decorated, with multicoloured Minton encaustic tiles on the nave and chancel floors and the reredos. The stained glass windows in the nave were obtained from the Beer studio in Exeter, while the triplet window in the chancel was made by William Warrington of London.
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Sheffield City Council, "Sources for the History of Brightside" In 1873, a memorial was erected to William Mannifield, who had been killed in an accident at the nearby Brightside Colliery.Ken Wain, The Coal Mining Industry of Sheffield and North Derbyshire George Pace conducted much work on the church, providing new decorations in 1957, then a new altar, reredos and lectern in the 1960s.Peter Gaze Pace, The Architecture of George Pace, p. 242 It was Grade II listed in 1973, but was closed and deconsecrated in 1979.
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In 1957 the Jubilee Chapel was created at the east end of the south aisle to commemorate the diamond jubilee of the Mothers' Union. A further renovation took place in 1984 when the pipe organ, that had been damaged by water, was replaced with an electronic organ. The oak reredos was removed from the sanctuary and the lower tier of stained glass was replaced in the east window. The gallery was converted into a choir vestry with a glass screen overlooking the interior of the church.
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The painted reredos was donated by Sir John Sutton, Bt. Above it is a window depicting this chapel's patron saints: St Lawrence (famously grilled to death in Rome for being a Christian), and St Stephen (a deacon and the first Christian martyr, stoned to death with the approval of the man who would become St Paul). The chapel also contains two reliquaries which contain a relic of St Laurence (second Archbishop of Canterbury) and Pope Gregory the Great (who sent St Augustine on his mission).
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Granville Sharp's tomb at All Saints', Fulham, after restoration Inscription on Granville Sharp's tomb After his death on 6 July 1813, Granville Sharp was buried at All Saints' Church, Fulham, beside his brother William Sharp and sister Elizabeth Prouse. The inscription on his tomb states: "Here by the Remains of the Brother and Sister whom he tenderly loved lie those of GRANVILLE SHARP Esqr. at the age of 79 this venerable Philanthropist terminated his Career of almost unparalleled activity and usefulness July 6th 1813 Leaving behind him a name That will be Cherished with Affection and Gratitude as long as any homage shall be paid to those principles of JUSTICE HUMANITY and RELIGION which for nearly half a Century He promoted by his Exertions and adorned by his Example" A reredos erected a generation later in All Saints' Church, Fulham, reads: "This reredos was erected in 1845 to the honor of God and in memory of William Sharp of Fulham House, Surgeon to King George III, Catherine his wife, daughter of Thomas Barwick, Granville Sharp, his brother..."Charles James Féret, Fulham Old and New: being an Exhaustive History of the Ancient Parish of Fulham (vol. 1, 1900) p.
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Screens were placed across the transept arches and a throne of blackwood was placed on the south side of the chancel. In 1929 a new organ was installed. At the end of the 1930s the church was further improved by the erection of a reredos and paneling to the east. A gift from the Friends of Canterbury Cathedral came in 1935, when a stone replica of an 8th-century cross from the cathedral was presented to Ballarat and set into the arch (left hand side) near the altar.
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The south transept, formerly the parish church of St Oswald contains a piscina and sedilia in the south wall. On the east wall are four chapels, each with a reredos, two of which were designed by Giles Gilbert Scott, one by Kempe and the other by his successor, W. E. Tower. The south window is dated 1887 and was made by Heaton, Butler and Bayne to a design by R. C. Hussey. Other stained glass in the transept is by Clayton and Bell, by C. E. Kempe and by Powell.
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Nicholas Hilliard painted the Pelican Portrait around 1573, now owned by the Walker Art Gallery in Liverpool. A pelican feeding her young is depicted in an oval panel at the bottom of the title page of the first (1611) edition of the King James Bible. Such "a pelican in her piety" appears in the 1686 reredos by Grinling Gibbons in the church of St Mary Abchurch in the City of London. Earlier medieval examples of the motif appear in painted murals, for example that of circa 1350 in the parish church of Belchamp Walter, Essex.
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In the centre is the Crucifixion, and on the sides are gabled niches with figures of the four Doctors of the Church. At the east end of the south aisle is a chapel with a reredos designed by Charles Spooner for the Guild of Handicraft in 1898, containing a painting of Christ administering Holy Communion by Frank Smallpeice. Also in the south aisle, and again of 1898, are a copper cross and candlesticks by Bainbridge Reynolds in Arts and Crafts style. Much of the stained glass in the church is by Clayton and Bell.
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The tomb of Sir Richard Pembridge, Knight of the Garter in the reign of Edward III, is a fine example of the armour of that period, and it is one of the earliest instances of an effigy wearing the garter. A square-headed doorway gives access from this aisle to the Bishop's Cloister. At the northern entrance is a porch and Decorated doorway, a good general view is at once obtained. There is a modern rood screen, a spacious and lofty central lantern, and a reredos with a carved spandrel.
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All the vaults are simple ribbed except for the one covering of the central Apse; the side apses are squared and the triforium has almost triangular windows. The interior has three naves separated with 10 columns. Beneath the choir the entrance to the cave can be found, where the image of the Virgin is believed to have been discovered, a place which has remained unchanged since then. The main reredos dates back to the 17th century, of baroque style, and with big highly decorated Solomonic columns with vine grapes and leaves.
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In 1881–82 the same architects added the bellcote, followed by the clergy vestry, a reredos and the organ screen in 1885. In 1901 the successors in the practice, Austin and Paley added the north aisle at a cost of £3,000 (equivalent to £ as of ). Further work was carried out on the west end of the church by the same practice in 1925–26, and a baptistry, and two porches were added. In 1998 the oak pulpit and choir stalls were removed, and the pews were replaced by chairs.
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In 1899 Edward Holt, of the Holt family of brewers, began the process of enriching St Margaret's with beautiful carved oak work by the Kendal craftsman, Arthur Simpson, with a gift of new choir stalls designed by Dan Gibson. Over the following 21 years, the church was enhanced with a new high altar, reredos, panelling, bishop's throne, rood screen, war memorial and other items, largely designed by Gibson and made by Simpson. This outstanding Arts and Crafts work, believed to be the best example of Simpson's ecclesiastical work, creates a superb liturgical setting.
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The first settlers arrived around 1679, and in 1714 the village became an official parish. The present-day church, a historical- registered building, was built from 1754 to 1767. Interrupted during construction by the Seven Years' War (1756–1763), it is one of the last buildings to be constructed under the French regime. The church has a facade and two towers, a baroque interior, a neoclassical reredos, and two tiers of openings on the bell tower, a presbytery (designed by architect Charles Baillargé in 1849) featuring five neatly lined dormer windows.
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He also designed "halls" – possibly mission halls – for the parishes of St. Nicholas, Marston and St. James, Cowley. Part of west front of St Michael and All Angels parish church, New Marston (1956) Dale's churches built after the Second World War were more ambitious. St. Michael and All Angels, New Marston (1954–56),Sherwood & Pevsner, 1974, pages 336–337 was built as a chapel of ease for St. Andrew's parish church, Headington. It is more substantial in scale and has a statue of St. Michael by Michael Groser and a reredos painted by Leon Underwood.
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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.
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In the late 1970s this was removed, as part of a re-ordering to bring its sanctuary in line with changes that followed the introduction of the revision of the Mass. The reredos was completely removed, leaving just the tabernacle, though the front panel of the original altar was reinstated in the new altar, which was moved to the centre of a new paved area in an expanded sanctuary. The altar rails were also removed. The pulpit was moved as well, and is currently sitting unused in a corner of the building.
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To be able to stand between the west windows it would have to be at least on a pedestal, because the windows are from the floor. The name of the artist is unknown, but it may have been carved by William Pashley of Harrogate and Leeds, who also carved some roundels in Leeds Minster.The missing statue of St Michael slaying the Dragon was possibly by William Pashley because he created the other sculptures in the church (reredos, font, pulpit) or by Nathaniel Hitch who worked in a similar style.
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Singular features include the in 1913, and the inner west doors, with decorative Art Nouveau metalwork believed to be by Henry Wilson. Between 1921 and 1928 the Lady Chapel, originally constructed in 1913, was decorated and furnished as a War Memorial Chapel. Led by a War Memorial Committee, the scheme included the installation of an oak reredos, the decoration of the ceiling and a new screen between the Chapel and main Church. New altar rails were given in memory of Second Lieutenant Wilfred Holmes, son of Basil Holmes, a local politician and Isabella Holmes.
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The church possesses a 15th-century stone reredos, purportedly from Troyes; above are five scenes of the Passion of Christ, and below is the Last Supper and Adoration of the Kings; the lower two occupy the same length as the Passion scenes above. The base to a 15th-century rood screen is present. There are four misericords on the north side, as well as three on the south side; the latter are older, probably dating to the early 14th century. The chancel's south window contains early 14th century grisaille glass in the head.
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The work of these two architects restored the medieval interior of the church which had been lost in the period following the English Reformation. The result is Comper's finest and most complete work in the region, comprising a free standing altarpiece and reredos, canopy, hanging pyx, various statues and stained glass windows. A large and highly decorated rood screen and rood are also the work of Comper. In 1989, owing to the increasing size of the congregation, an extension was built on the north side of the church building, almost doubling it in size.
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One of the last deeds of Williams's life was to send his signature to the clerical declaration against war with Russia. He died suddenly at the Church Farm, Harbridge, one of the chapelries of Ringwood, on 26 January 1878, and was buried at Harbridge on 1 Feb. A reredos was erected in Ringwood church as a memorial to his memory, a prize for distinction in the theological Tripos was founded at Cambridge, and a bronze tablet, with a portrait-bust in relief, designed by W. Burgess, R.A., was placed in King's College chapel.
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The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn. On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.
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Note the date of death at 14 March 1858. The reredos behind the main altar features a painting of Christ, a statue of Saint Joseph, and two carved figures: a dove represents the Holy Spirit, and at the top sits God the Father with detailed golden rays surrounding him. The altar and choir railings were copied from an original piece found in the museum during the reconstruction. The Mission cemetery (camp Santo) is situated to the side of the church where a great number of Mission pioneers buried.
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Bradford Observer, Thursday 23 August 1855 p5 col.6: "The Parish Church" There is a photograph of it in the church archive. This reredos was lost during the 1950s rebuild by Edward Maufe. Exterior of Cathedral The clerestory The nave inside the Cathedral Originally in the Diocese of York, the church was in the Diocese of Ripon before becoming a cathedral in 1919, when the Diocese of Bradford was created; it became one of three co-equal cathedrals of the new Diocese of Leeds upon its creation on 20 April 2014.
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The chapel contains a number of 18th-century monuments to members of the local Thornycroft family and the tomb of Sir John Thornycroft, 1st Baronet. In 1864–66 the church was restored under the direction of the Gothic Revival architect GE Street. As well as stabilising the spire, Street's work includes the pulpit, choir stalls and reredos. In 1868 Edward Burne-Jones created a stained glass window of St Christopher in the chancel and in 1869 William Morris, Edward Burne-Jones and Philip Webb created the east window.
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The reredos is in marble and dates from 1916. Some of the stained glass was made in the middle of the 19th century by Powell. Elsewhere there is a "magnificent scheme" of stained glass by Carl Almquist and E. H. Jewitt of Shrigley and Hunt, installed between 1892 and 1909, described in the Buildings of England series as "one of their best and most important ensembles". The three-manual organ was installed in 1857, and was rebuilt, enlarged and moved into the north transept in 1937 by Henry Ainscough of Preston.
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For about five years before the mural was covered by the ornate wooden reredos, friars, soldiers, and native people saw the mural each day. Detail of Sacred Heart pierced by three daggers Part of the mural depicts the Sacred Hearts of Jesus and Mary. In Christian art, the Sacred Heart is often portrayed as a flaming heart shining with divine light, pierced by the lance-wound, surrounded by a crown of thorns, surmounted by a cross and bleeding. Sometimes the image is over Jesus' body with his wounded hands pointing at the heart.
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The incipient baroque is of moderate decorative traits. There are several examples of this style in the churches built in the 18th century or before, such as those of Betis, Lipa, San Vicente, Candon, Magsingal and Sarrat. The church and convent is probably a center of religious orders – foremost Augustinians, Franciscans, Jesuits and Dominicans. They heavily influenced the life and culture of the natives as evidenced by the images of Saint Augustine, Saint Francis of Assisi, Saint Dominic and Saint Francis Xavier in the reredos according to Minalin Parish Priest, Fr. Vega.
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His clients quickly became alarmed by this unforeseen expense, and he was subsequently dismissed as architect. His replacements, J. T. Micklewaite and Somers Clark, completed the church almost entirely to Brooks’ original specification. The overspend, however, meant that some of Brooks more elaborate design features, such as the carving of the stone capitals in the nave, the projected tower with steeple, above what is now the south porch, a belfry and an elaborately carved stone reredos could not be completed. Like Brooks' East End churches, the Ascension is a bold, simple design, built of brick.
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The village was first documented in the year 1250 as Bodelwicz when on Christmas Eve of this year Henry III, Margrave of Meissen gifted the church in Podelwitz to the Teutonic Order. The church dates from the 13th Century, the reredos from the year 1520. After the Vienna Congress of 1815, Podelwitz was granted to Prussia as part of the district of Delitzsch, whereas the district to the south remained in the Kingdom of Saxony. A porphyrous stone to mark the border is still in place in the village today.
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The sanctuary also includes red Numidian marble walls and a semi-dome ceiling. The varied types of marble that decorate the church come from Italy, Africa, Skyros, Greece and the United States. The original flooring was Venetian marble; it was replaced with a speckled maroon and black terrazzo floor as part of the renovations made in 1986; the church's walls and ceiling were painted mauve, pink, and alabaster. The original reredos (high altar) has been removed, but the sanctuary still contains religious artifacts, paintings, sculptures, stained glass windows, and other works of art.
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The Archipiscopal throne was carved in situ by Brisbane carver and cabinet maker,Hedley Smith, in the 1930s. Two statuettes by Hedley Smith were added in 1948. Beyond the choir is the presbytery and then the high altar and its surrounding sanctuary. The high altar is a free-standing structure with a great Byzantine-style stone baldacchino (a permanent ornamental canopy, as above a freestanding altar or throne), rather than a reredos, (a screen or a decorated part of the wall behind an altar in a church) supported on columns planned to risehigh above it.
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Cox, J. Charles (1916) Lincolnshire pp. 126, 127; Methuen & Co. LtdKelly's Directory of Lincolnshire with the port of Hull 1885, p. 394 In 1964 Pevsner noted 1798 repairs and considered the church "over-restored". He dated a chancel rebuild to 1843, questioned if it was "done correctly", and recorded Victorian tracery in the aisle windows, a blocked doorway to a previous chapel in the chancel, "fine busts of great variety", a Decorated- style sedilia and piscina with ogee arches and crocketed gables, a reredos dated 1790, and a defaced 14th-century effigy.
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Opposite the internal doors, in the south wall, there is a plain pointed priest's door with cut stone voussoirs, by Seddon, with wrought iron hinges. Priests’ door in chancel, south side The 1880s Seddon high altar has a fine reredos across the east wall in red sandstone and white marble. There is red stone outer wall-panelling in squares of rose and vine, in a moulded frame. A white marble shelf or Retable on brackets over pink marble framing is behind the altar, with outer panels of white marble with a cross on vine background.
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St John the Baptist Church, Withington The church in the village today was completely rebuilt in 1874 by G. E. Street, on the site of a much older building. It is built of sandstone with a tiled roof and low stone tower with spire to the west. This tower houses two bells from the 13th and 14th centuries in a frame circa 1800. Remnants of the furnishings of the earlier church have also survived – the stone reredos depicting the crucifixion, the stone font, stone pulpit, chancel wall and the eagle lectern.
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Internally there are galleries on the north, south and west sides, and Georgian box pews. The pulpit dates from the 17th century and, at the time Richards was writing, it was the only pulpit in Cheshire to be placed in front of the sanctuary in the middle of the nave. Between the nave and the aisles are square piers supporting Tuscan columns. The marble font dates from 1742 and a brass candelabrum from 1748. The reredos is dated 1743 and its panels contain the Lord's Prayer, the Ten Commandments and the Apostles' Creed.
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In the following months he proceeded to deal with other rebels in his diocese. But the rigour with which he put down the rebellion made him highly unpopular in Norfolk and in the following year a plot was organised to murder him. The scheme was betrayed in time by one of the conspirators, and the plotters were dealt with by the authorities.Knighton, Chronicle Following his successful crushing of the rebellion, Despenser commissioned a reredos to sit on the altar in St Luke's chapel, Norwich Cathedral illustrating scenes from Christ's final days.
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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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In the chancel is a two-arched sedilia. The reredos contains an alabaster relief depicting The Last Supper. The monuments in the church include ones to William Tomkinson who died in 1770 by Benjamin Bromfield, to Mrs France who died in 1814 by S. and F. Franceys of Liverpool, to Mrs Harper dated 1833 by Francesco Pozzi of Florence with a relief of a mother and child, and to Frederick and Cecil France-Hayhurst who died in 1915, by Underwood. In the south aisle is a war memorial chapel designed by Sir Robert Lorimer.
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Inside, there are galleries at the northern, southern and western sides, reached by curved staircases. There was a three-tier pulpit in front of the reredos at the eastern end, and the organ, by the J.C. Bishop & Son organ builder firm, was initially inside the western gallery. After Revd James Anderson became curate of the church in 1828, his close association with Queen Adelaide, the consort of King William IV, made the church very popular. The queen consort was popular with the British people and often spent time in Brighton.
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After it was acquired by the congregation and placed in trust, £11,050 was spent on large-scale alterations to the church. A chancel was added at the eastern end, with a new window in the eastern wall; the reredos was replaced with a larger version; the organ was moved again, into a more conventional position in the south gallery; and both the north and the south galleries were rebuilt at their eastern ends to align with the chancel extension. All of the seating was replaced, increasing the capacity to 1,300.
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The Willoughby pew by the south wall has a large ornate canopy with panelled reredos and a moulded and carved cornice in the classical style. There is a choir stall at the east end. The church organ at the south- east corner was a gift in 1843 from Halliwell Road Unitarian Chapel in Bolton, and has been restored, some of the original pews were removed to make way for the organ. Inscribed in the wood of the pews at this side highlighted in gold leaf are the words 'Let the peeling organ blow'.
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Reprint Nabu Press (2011). Allen, Thomas (1834); The History Of The County Of Lincoln: From The Earliest Period To The Present Time, volumes 1-2, pp. 316, 317. Reprint Nabu Press (2011), Reredos by Mary Fraser Tytler In 1816 antiquarian and publisher William Marrat stated that the church was almost devoid of the stained glass imagery that, according to a report, "abounded" in 1640. St Andrew and St Mary's was restored during the first half of the 19th century at a cost of £2,000, provided by the Turnors, Cholmelys and others.
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Gray, Christopher (February 5, 1989) "St. Michael's Episcopal Church; Restoration, and Perhaps A Striking Tiffany-Style Finish", The New York Times In 1895, Louis Comfort Tiffany (1848–1933) was commissioned to design and install the seven great lancet windows representing St. Michael's Victory in Heaven, along with a marble altar. Twenty-five years later, Tiffany's overall design scheme was completed with the Chapel of the Angels reredos mosaic depicting the Witnesses of the Redemption. From the 1890s through the 1920s, parishioners donated stained glass windows of eclectic styles.
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The frontal for the Lady Chapel altar was added in 1879. The reredos, designed by Nicholl, in the Sacred Heart chapel was added in 1902, with four angels in niches are holding the instruments of the Passion; in the central niche is a statue of the Sacred Heart by Theodore Phyffers (1821-1876), a Belgian-born sculptor working in London. When the lease expired the church survived because Madame Meschini and her son Arturo purchased the land and donated it the Westminster diocese. The church was consecrated on 4 September 1921.
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The church was built in 1898–99, and was designed by Edmund Waring and Edmund Rathbone. Its patron was Martha Elam, a local wealthy Unitarian; Rathbone was also a Unitarian and a scion of the prominent Liverspool banking and business dynasty, many of whom were nonconformist in religion and became Unitarians. Harold Rathbone, another member of the family, made the ceramic reredos which runs at high level above the sanctuary table of the church, and this is probably the largest executed work of the short-lived Della Robbia Pottery of Birkenhead.
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The church roof partly collapsed around the same time and had to be repaired. In the 20th century a lychgate was erected at the churchyard entrance, the reredos was replaced, the organ was replaced again, the roof of the chancel was renewed and some stained glass was added. The font was replaced with a Victorian one: the main section of its medieval predecessor was removed and taken to Australia by the Henty family when they emigrated. The Hentys were successful farmers, especially of merino sheep, and lived in one of West Tarring's largest houses.
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Gold reliquaries that contain relics of various saints are in nooks on either side of the reredos. The shrine of the Blessed Virgin Mary on the left side of the church contains statues of St. Benedict on the left and St. Thomas Aquinas on the right, that were added in 1902. At the base of the altar is a relief of the Dormition of the Virgin. The St. Joseph shrine contains statues of St. Ignatius of Loyola on the left and St. Anthony of Padua on the right that were also added in 1902.
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The square-headed windows in the south aisle were inserted in the 16th century and the spire was added to the tower probably early in the 17th century. On the wall can be found a memorial portrait by John Flaxman, showing a woman holding pelicans in her hand in relief. The chancel has a modern reredos. The registers, which date from 1560, include the following entry: In front of the porch is a 19th- century Celtic cross by Joseph Clarke on the four steps of the old churchyard cross.
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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.
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Alice B. Taylor. As in his early Spanish-Pueblo > houses, the forms here ten to be more picturesque, the batter of the walls > is exaggerated, and the profiles of the parapets self-consciously irregular. > The woodwork is also elaborately carved, much more so than any that survives > in a mission church. This is especially true of two interior doors leading > to the “transepts.” These and the reredos were carved by Meem’s friend > Eugenie Shonnard... It reflects Taylor's values of piety and simplicity, "passion for Southwestern art", and with an "unparalleled view" of Pikes Peak.
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Bavarian-born Johannes Kirchmayer executed the intricate wood carving, notable in particular on the rood screen. The stained glass windows (including a large window at the back of the sanctuary above the baptismal font) were created by the noted firm of C.E. Kempe in London. The high altar also features monmunental stone figures and a carved Caen stone reredos inspired by examples in Winchester Cathedral and St. Alban's in England. The church's Solemn High Mass (11:00am Sundays) is locally notable for its fine choral music and beautiful liturgy.
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The manorial pew is on a raised platform at the west end; it is reached by a private door from the park grounds. During the restoration the box pews were removed, the pulpit was moved, the wall panelling was raised in height and a panelled ceiling was added. A mosaic reredos was added in the apse, which was manufactured by Salviati and is loosely based on Giotto's Dormition. The font dates from 1772, is made of coloured marble and consists of a bowl resting on three legs, each with a clawed foot.
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The porch is timber-framed and has arch braces with elaborately carved spandrels. The adjacent tower rises in four parts to a shingled spire topped with a weather vane. The windows are variously arch-headed and lancet, and the uppermost stage has louvred arched openings. Interior fittings include a stone and marble-columned font of octagonal design, a stone and timber-panelled carved pulpit, oak choir stalls and Communion rails, timber confessional, a J. W. Walker and Sons organ and a stone, wood and marble reredos with carvings and mosaic work.
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The chandeliers and other lamps in the church are "large and fantastic", the brass lectern includes a carving of the Virgin, the pulpit has carvings of the Doctors of the Church, and the reredos is in mahogany. Most of the stained glass is by Powell's, and dates from 1890 to about 1902. In the vestry is a panel composed of 14th and 15th-century tiles. Many of the monuments are to the Cornwall family, which were probably repainted in the 19th century; these date from the 14th to the 17th century.
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Shrines were always centered on some image of Christ, Mary or a saint – for instance, a statue, painting, mural or mosaic, and may have had a reredos behind them (without a Tabernacle built in). However, Mass would not be celebrated at them; they were simply used to aid or give a visual focus for prayers. Side altars, where Mass could actually be celebrated, were used in a similar way to shrines by parishioners. Side altars were specifically dedicated to The Virgin Mary, Saint Joseph as well as other saints.
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"'Consuelo and Alva': An Early Story of Celebrity" at Fully Authorized by Karen Grigsby Bates, at National Public Radio's website, accessed November 8, 2006. This structure was destroyed by fire in 1905, leaving only its trademark tower remaining. The fourth and current church, designed in 1906, was built from 1911 to 1913 under a design by Ralph Adams Cram (1863-1942) and Bertram Grosvenor Goodhue (1869-1924) of the architectural firm of Cram, Goodhue and Ferguson, and featuring an elaborate reredos designed by Goodhue and sculptor Lee Lawrie (1877-1963).
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Saint Thomas Church c. 1889 (third church) The present church, a designated New York landmark, was built from 1911 to 1913, designed by a partnership of Ralph Adams Cram, who also designed the Princeton University chapel, and Bertram Grosvenor Goodhue, who designed nearby St. Bartholomew's church. Lee Lawrie designed the many sculptures and decorations, most notably the 60 figures of the magnificent reredos, which is high. Prior to working together on Saint Thomas Church, Lawrie and Goodhue worked together on El Fureidis, an estate located in Montecito, California.
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Over the ample seat in the centre, with a high reredos, two great wings spread off from the central division. All was white marble and jade, liberally sculptured according to the canons of Chinese art. Along the top lay and leered dragons, each one "swinging the scaly horror of his folded tail" toward the central seat, his head projecting outward in the air. Below the throne were the three steps, on the broad second one of which the suppliant performed the nine prostrations or knocks of the head.
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High Wych is a village and civil parish in the East Hertfordshire district of Hertfordshire, England. The village is located a little over one mile south- west of the town of Sawbridgeworth, and around three miles north-east of Harlow in the neighbouring county of Essex. The parish includes the settlements of Great Pennys, Trimms Green, Sacombs Ash, Allens Green, Chandlers, Carters, Rook End, Hoskins and Sayes Park. The village contains a Church of England primary school and a late 19th-century church, St James, with a marble reredos and a Father Willis organ.
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The organ at St Martin's Church was built between 1875 and 1888 by the London-based organ building firm of Hill & Sons, and is housed in an incomplete case designed by Somers Clarke which complements the reredos. With 29 stops over three manuals and pedals, its voicing is influenced by Hill's time in Germany and capable of most repertoire. The Institute of Organ Studies has described it as "outstanding", and noted its historical importance for being in almost totally original condition. Since 2015 the Organist has been Mr Nic Robinson.
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A mural by Hans Feibusch was commissioned and replaced the damaged Victorian reredos. The overall effect is vastly different from the essentially Victorian interior that previously existed. The highlights of decorative detail and colour are typical of a tradition evolved by Thomas Ford through the 1930s and into the 1950s. During the construction of the Jubilee line, the structural stability of the church was closely monitored as the soil underneath the church began to dry out as a result of the building of the new London Underground line.
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Mexican oil paint on tin retablo of 'Our Lady of Guadalupe', 19th century, El Paso Museum of Art A retablo is a devotional painting, especially a small popular or folk art one using iconography derived from traditional Catholic church art. More generally retablo is also the Spanish term for a retable or reredos above an altar, whether a large altarpiece painting or an elaborate wooden structure with sculptures. Typically this includes painting, sculpture or a combination of the two, and an elaborate framework enclosing it. The Latin etymology of the Spanish word means "board behind".
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Arches with beautiful moulding were hidden by walls, Sedilia were removed from their original positions and reredos had been covered with plaster or hidden with walls. A meeting was held after the service and a detailed restoration plan was announced at the meeting along with a list for those wishing to donate to the work. The Prince of Wales (later Edward VII) and the Marquess of Bute were among those who pledged donations sufficient to allow the restoration work to continue immediately. The cathedral was extensively restored, the tower rebuilt and a spire added.
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The rebuilt church, which cost £5,000 (again, fully funded by Wagner), was consecrated in 1884. Reverend Arthur Wagner's churches followed the Anglo-Catholic Ritualist tradition, for which he often faced hostility and attack from reactionary Protestant figures within the Anglican church. In 1902, the ecclesiastical court ruled that many of the elaborate fixtures within the church, including icons, candlesticks and confessional boxes, had to be removed, after receiving a complaint. In the interwar period, however, there was a new wave of decoration and ornamentation, including the introduction of two reredos.
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General view with tombs and monumentsThe main altar-piece is attributed to Gian Cristoforo Romano (c. 1505). It was certainly built after 1503 because the inscription at the base calls the Cardinal the Bishop of Porto and Santa Rufina. The tripartite marble reredos is articulated by Corinthian pilasters and crowned by an elaborate pediment with the figure of God, the Father. There are three sculptures of saints in shell-headed niches: St. Catherine of Alexandria in the middle (with the wheel), St. Vincent (with the ship) and Anthony of Padua (with a lily).
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In 1852, when he travelled abroad for his health, he studied the works of Quentin Matsys and other artists. On his return the dean and chapter of Ely entrusted him with the construction of the reredos. This was composed of choice stone and alabaster, enriched with carving and inlaid with gold and gems; it is one of the finest specimens of ecclesiastical art executed in England since the Reformation. He died at his residence, Hills Road, Cambridge, on 29 March 1855, and was buried in Mill Road cemetery, Cambridge.
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Stained glass windows in the Great Watching Chamber. The timber and plaster ceiling of the chapel is considered the "most important and magnificent in Britain", but is all that remains of the Tudor decoration, after redecoration supervised by Sir Christopher Wren. The altar is framed by a massive but plain oak reredos with garlands carved by Grinling Gibbons during the reign of Queen Anne. Opposite the altar, at first-floor level, is the royal pew where the royal family would attend services apart from the general congregation seated below.
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The interior space has six-bay arcades with shafted piers, between the clerestory windows are canopied niches with archangels holding shields. The roof has traceried spandrels, the chancel has transomed windows, the sedilia is decorated with cusped arches and a frieze of vine leaves. The reredos is 15th century and contains seven ornamental canopied niches containing statues of 1933. Restorations were carried out by Sir George Gilbert Scott in 1856-57 and 1861–62 and by Sir Thomas Graham Jackson in 1894, the parapet and pinnacles are mostly Scott's work.
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In the passage leading to the church hall are two windows with stained glass made by Morris & Co. and moved from Cheadle Congregational Church when it was demolished in 1970. In the vestry porch is a memorial to the South African War in Art Nouveau style. The reredos has a canopy and a coloured carving of the Upper Room in Emmaus, which is a copy of a glass mosaic in Westminster Abbey. The three-manual pipe organ was built in 1874 by Henry Willis, and rebuilt in 1937 by his successor in the practice.
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CP. Date unknown The altar and reredos of the chapel are dedicated to the Sacred Heart, and were designed by the architect Rudolf M. Butler, and sculpted by George Smith."Irish Builder and Engineer". Mecredy, Percy & Company, volume 64, 1922. p. 904 Butler also designed the sanctuary, which is lined with Italian marble tiles, and contains twenty-four panels decorated with Presentation Order symbol of an oak tree, as well as representations of a Celtic cross, and symbols of Jesus' crucifixion, including a crown of thorns, sponge, and nails.
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The Reredos is a scaled-down model of a larger more elaborate medieval gothic Rood Screen. The bronze relief at the center sits in what would have been the passageway from the Apex to the Sanctuary (through which the communicants would have witnessed the consecration of the Host). Above, a crossbridge (see the miniature passageway and small windows running laterally below the gables) connects what would have been the cathedral's north and south transepts. Such crossbridges allowed non-celebrating clergy to move about the cathedral on business, unseen, while Mass was said below.
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The reredos was created in 1898 as a memorial to Colonel Francis Chambers; it was designed by Basil Champneys and made by Bridgemans of Lichfield. A raised dais at the east end of the nave was introduced in 2011. Approval for this (a faculty) had originally been refused by Chancellor Martyn Coates in a Lichfield Consistory Court judgment dated 5 November 2009; but in a judgment dated 31 July 2010 the Arches Court of Canterbury overturned Chancellor Coates' judgment on grounds both of substance and procedure (Re Holy Trinity, Eccleshall [2010]).
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The church, consecrated to the Holy Cross of Rome, and bearing that name (Santa Cruz de Roma), has been damaged in the various earthquakes that have shaken El Salvador through the centuries, beginning with one registered in 1736. The church consists of a single nave covered by a roof supported by 16 wooden beams. It contains an altar reredos done in the French baroque style, but its most well-known feature is its bleached white colonial façade. Like many colonial churches, it fronts a central square centered on a large cypress tree.
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Representatives of the participating faiths agreed on the shared symbolism and architecture of the Ark-Reredos. :1958 Completed bronze relief (depicting a variety of philanthropy-supported activities, such as (from left to right) child care, physical fitness, religious study, scientific research, and care for the ill) for a facade of the Jewish Federation of Metropolitan Chicago. The piece is prominently displayed indoors at 30 S. Wells, the new Jewish Federation headquarters, as of 2007. :1963–65 Worked on the monumental "Hymn to Water" for the Central Water Filtration Plant of the City of Chicago.
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The spectacular late-Baroque decorations of the chapel of the sacristy and its Transparente (mid-18th century) by Francisco Hurtado Izquierdo and containing polychromatic marbles, solomonic columns, and gilded leafwork, contrast with the rocky serene simpleness of the cloisters. The silver decoration of the church included a silver “custodia” weighing some 24 arrobas (approximately 15 kilogram per arroba), which among with many other items, was probably looted by Napoleon's troops. There is a large 15th-century carved wood reredos in excellent condition, and a fine ironwork screen segregating the monastic choir from the nave.
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Abbott was an accomplished artist in various media, especially woodcarving. She made the Reredos and altar for the Grace Episcopal Church (Lawrence, Massachusetts), and an altar depicting Saint George in cowboy attire in St. Andrew's Episcopal Church, Nogales, Arizona. Mary carved what she called the "Indian Gates," also known as the "western gates," two side by side teak doors, which were hung in the U.S. Department of the Interior building, Washington, D.C. These doors are always displayed in the open position. Abbott's drawings appeared in the Appalachian Mountain Club journal Appalachia and books on travel.
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The chancel arch is supported by short black marble shafts and has a painted vaulted wooden ceiling, most notably but subtly decorated with a crown of thorns. The reredos is of pink-veined marble in the Gothic Revival style and has a central mosaic depicting the Last Supper, in memory of members of Fraser's family. Above this, the east window is made up of highly decorative stained glass, depicting scenes from the life of Christ. A small statue depicts Augustine of Hippo, an early church father and bishop to whom the church is dedicated.
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The following summer he did the same at Leon Cathedral in Spain.Weilbacker, pp. 34-35. Architect Milton Bennett Medary assembled an extraordinary team of collaborators for his Washington Memorial Chapel (1914–17) in Valley Forge, Pennsylvania - built on the grounds of the Continental Army's 1777-1778 winter encampment. D'Ascenzo Studios created thirteen stained glass windows; Samuel Yellin created wrought iron gates, hardware and locks; Edward Maene created oak reredos, choir stalls and church furniture; and sculptors Franklin Simmons, Alexander Stirling Calder, Bela Pratt, and Martha Maulsby Hovenden created statues and other works.
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Next to the Lady Chapel is the Reconciliation Room, which is used for the hearing of confessions and private discussions. St Michael's Chapel houses a stone altar by Bodley, and is open every day for private prayer and reflection. Through the iron-work grille, also by Bodley, can be seen the magnificent reredos by Tower, depicting an amazing variety of saints and angels surrounding the scene of the Nativity. On the High Altar is the tabernacle where the Blessed Sacrament is reserved so that Holy Communion is available at any time for those in need.
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The church closed in 2006 and sold in 2007 by the Church in Wales for £500,000. Planning permission was granted in 2008 to create 12 one and two-bedroom flats and, in addition, a seven storey apartment in the church tower. As of 2018, construction and renovation works are still taking place by the owners after a delayed start. Important architectural fittings have been relocated, for example the font is now in the entrance hall of the next door Tredegarville Primary School and the reredos has been refitted to St Theodore's Church, Port Talbot.
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In 1872 William Butterfield, a prominent architect of the gothic-revival, substantially renovated St. Clement's to conform with the contemporary Anglican 'High Church' taste."The Visitors Guide to the City of London Churches" Tucker,T: London, Friends of the City Churches, 2006 The renovation involved removing the galleries; replacing the 17th-century plain windows with stained glass; dividing the reredos into three pieces and placing the two wings on the side walls; dismantling the woodwork to build new pews; laying down polychrome tiles on the floor, and moving the organ into the aisle.
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To either side were the figures of Moses and Elijah. In 1887 there was objection at synod to the representational nature of the reredos and in particular to the central Crucifixion on the grounds that it might be seen as idolatrous. The Crucifixion was replaced, at the expense of the objectors, by the present scene of the Transfiguration. Both depictions of Moses, like the famous sculpture by Michelangelo in San Pietro in Vincoli, Rome show him with horns, a symbolic attribute due to a mistranslation in the Vulgate Bible.
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It accommodates the original decorated marble reredos and altar with flanking angels on marble plinths on the rear elevated platform and a plainer freestanding marble altar to the lower front platform. The chapel houses a number of statues including those of the Sacred Heart, Our Lady, St Patrick, St Joseph, St Theresa and St Francis. A fine set of painted stations of the cross in carved timber frames hang on the walls. The sanctuary floor is carpeted (the original mosaic marble finish may survive under) and floors to the nave are parquetry.
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Makinson carved the pinnacled reredos himself. The site has a picturesque graveyard of clustered headstones and notable classical sandstone monuments, predominantly of the pastoralist Cox family, on a sloping site bordered with regenerating eucalypts, which complements the church. 1987 Sydney REP 13 (Mulgoa Valley) was gazetted, reflecting increasing conservation interest in this important early farming valley, valued for its scenic value, ongoing agriculture, "lifestyle" living and heritage values. St. Thomas' Church and cemetery is a key part of this valley and an identified heritage item in the SREP.
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Interior of the Catholic Chapel The Catholic Chapel is located below the Protestant Chapel, and seats approximately 500 people. The nave is wide, long and high. The focal point of the Catholic Chapel is the reredos, an abstract glass mosaic mural designed by Lumen Martin Winter and composed of varying shades of blue, turquoise, rose and gray tessera to form a portrayal of the firmament. Superimposed on the mural and depicting the Annunciation are two tall marble figures, the Virgin Mary on the left, and the Archangel Gabriel on the right.
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From the beginning of his episcopate he had practically been a Lutheran, and after 1537 he married and lived as a rich lay nobleman until his death (1568). Besides the cathedral at Odense with its crypt, containing the bodies of St. Canute and of his brother Prince Benedict, and its glorious reredos etc., there are many fine churches at Nyborg, Svendborg and elsewhere. Before the Reformation the diocese had Augustinian Canons at St. Mary's, Odense; Benedictines at the cathedral, Odense and at Halsted (Lolland); Benedictine (?) nuns at St.
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The upper part of the spire is entirely of stone. At over 260 feet, it is the tallest spire in south London and can be seen for miles around. The poet John Betjeman remarked that St John the Divine was "the most magnificent church in South London." The original church interior was designed by George Frederick Bodley (Founder of Watts & Co. ), and was fitted out in a highly ornate style typical of the Victorian era and of Anglo-Catholic churches, including stone carvings by Thomas Earp, wrought iron altar rails, stained glass windows, and a carved reredos painted by Clayton and Bell.
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The church dates from the 13th century, and was completed in 1474 with funding from Walter Blount, 1st Baron Mountjoy. The chancel was restored and lengthened by in 1904 by George Frederick Bodley. Some of the tombs and memorials were moved to give a better view of the altar. The new chancel has no window at the east end, but a large reredos of carved white clunch filled the whole end, which was richly carved with subjects and figures, and effectively lit by two new traceried windows of three lights each in the north and south walls of the sanctuary.
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The dressing room (Camarín) of the Virgin is located in the central part, with the original image, surrounded by the founders of the Benedictines, in its male (Saint Benedict) and female (Saint Scholastica) branches and a depiction of the founder kings. The depiction of the elements that are believed to have been found next the image of the Virgin is noteworthy: a jar with Madonna lilies (emblem of the monastery), a lamp and a bell. Above these elements, a frieze tells the story of the discovery of the Virgin by the king Don García. A Calvary concludes the reredos.
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Another renovation of the cathedral took place in the 1940s with the installation of the present stained glass windows and the Stations of the Cross. A new reredos was created for the high altar's original mensa by Conrad Schmitt Studios of Milwaukee, and used for the first time at Christmas 1944. Another large-scale renovation of the cathedral was begun in the 1970s by Bishop Maurice Dingman out of a desire for a better liturgical environment, and because the building was in need of repairs. The Reverends John Lorenz and James Laurenzo were co-pastors at the time.
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On the third night of the London Blitz, at 10.20pm on 9 September 1940, a bomb destroyed the majority of the church, leaving only the tower and spire intact.History of St Mary's Church Main-altar reredos mural by Brian ThomasThe church was rebuilt following an appeal by the incumbent, The Revd Hugh Gough, and dedicated in 1956 when Maurice Wood was vicar. The partnership‘The Partners: Seely and Paget’, English Heritage. Web resource accessed 8 July 2019 of John Seely and Paul Paget produced an ambitious design that attempted to create a space suitable for a "renaissance of evangelical worship".
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In Gothic architecture, a niche may be set within a tabernacle framing, like a richly decorated miniature house (aedicula), such as might serve for a reliquary. The backings for the altars in churches (reredos) can be embedded with niches for statues. Though a niche in either Classical or Gothic contexts may be empty and merely provide some articulation and variety to a section of wall, the cult origins of the niche suggested that it be filled with a statue. One of the earliest buildings which uses external niches containing statues is the Church of Orsanmichele in Florence, built between 1380 and 1404.
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The sanctuary fittings include a delicate carved and painted rood screen and parclose screens around an 'English Altar' i.e. altar surrounded on three sides by hangings and a painted dossal, riddelposts with angels and a painted and gilded reredos; this was the kind of altar that the Alcuin Club favoured Sir William St John Hope under the auspices of the Alcuin Club, English Altars from Illuminated Manuscripts, Longman and Green, London, 1899 and Comper used in his early churches. At St Cyrpian's the altar is set beneath a tester placed high up in the roof. Above the rood screen is a suspended rood.
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Reredos of la Virgen Inglesa. The lateral altarpieces, placed in the ends of the arms of the transept, are dedicated to Saint Benedict and the Virgen Inglesa, which receives that name because tradition says that the carving of the Virgin and Child presiding over the ensemble, dating from ha. 1500, was brought to Compostela by Catholics exiled from England at the time of Henry VIII; Are distributed in three streets and attic, with salomonic columns of giant order on a bank very developed. They present scrolls, fruit strings, corbels, ribbons and are topped by broken semicircular pediments from which a pyramidal shape emerges.
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Retrieved 25 September 2013. Next to the Finsta Chapel, the Sture Chapel is the memorial tomb of the three members of the Sture family who were murdered in by King Eric XIV in 1567. The reredos (1520) depicts the story of Mary's parents, Anne and Joachim."The Sture chapel", Uppsala Cathedral. Retrieved 25 September 2013. At the end of the 16th century, the church's sacristy was converted into a burial chapel for Queen Catherine Jagiellon or Katarina Jagiellonica, the wife of King John III, who is also entombed there."Kulturnatten i Uppsala", Svensk-Polska Samfundet. Retrieved 26 September 2013.
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He joined Arthur Blomfield's practice as assistant architect in April 1862 and worked with Blomfield on All Saints' parish church in Windsor, Berkshire in 1862–64. A reredos, possibly designed by Hardy, was discovered behind panelling at All Saints' in August 2016. In the mid-1860s, Hardy was in charge of the excavation of part of the graveyard of St Pancras Old Church prior to its destruction when the Midland Railway was extended to a new terminus at St Pancras. Hardy never felt at home in London, because he was acutely conscious of class divisions and his social inferiority.
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In 1870, a magnificent chime of bells was installed, one of only three of its kind in New Jersey, which is still played on significant feasts and other special occasions. A sorely needed sacristy was added to the church in 1891. The current marble altar and reredos were installed in 1919 (the altar was reconfigured in 1967, in accordance with the liturgical reforms of Vatican II), and the stained-glass windows were replaced in 1950. In 1999, the current electronic organ was installed. The Lyceum building, constructed in 1920, served various needs of the parish and schools until 2009.
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The Lady Chapel was built later that century at the east end of the south aisle and was linked to the holders of the manor, at that time the Brounckers; the chapel was refitted in 1909. Extensive remodelling in 1845 by T.H. Wyatt included moving the four-stage 16th-century tower from the crossing to the west end, and adding a vestry and chapel on the north side. In 1881 the chancel was restored. The fine carved limestone reredos of 1894 is by C.E. Ponting, and the carved oak chancel screen is of the same date.
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In the ambulatory but already on the Epistle side is this chapel that was an old tabernacle or sacristy, with a Plateresque portal, a semicircular arch and a Renaissance triangular pediment, very ornate, built in 1498 by Miguel de Aleas and Fernando de Quejigas. The iron gate was carved by Domingo Zialceta in the year 1649. Inside, it has a late Gothic vault of the 15th century, a Baroque reredos of the 17th century and a crucifix, carved in wood, called Christ of Mercy dating from the 16th century, this chapel also has its corresponding sacristy.
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The chancel was rebuilt in the late 13th or early 14th, and in 1450 the nave was rebuilt, wider and with a clerestory and wagon roof; the roofline of the earlier nave is visible on the west wall of the tower. The pews, choir stalls and pulpit were installed in the 1660s, and the font – possibly 13th-century – was restored at the same time. The reredos of 1884 is by Ewan Christian. The four bells were recast in 1700 and two more added in 1720; all remain in place except one of the 1720 pair, which cracked and was recast in 1989.
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There is a fragment of a medieval wall painting on the south wall which shows two angels and two towers of the Holy City.Winstone, pg 4 The reredos is of alabaster and Caen stone with the symbols Alpha and Omega (the first and last) carved on either side of the marble cross. The altar table is Elizabethan. Above the main door is a large painted panel depicting the Royal Coat of Arms of Queen Anne which was placed here sometime between 1707 and her death in 1714, as the insignia shown are those of the monarch after the Acts of Union of 1707.
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Procktor's work, primarily in oils, acrylics and watercolour, drew on pop art influences, but was also influenced by his travels (he visited Italy, Greece, India, China and Japan, among other places). He was also adept at print-making, producing a sequence to illustrate a new 1976 edition of Coleridge's The Rime of the Ancient Mariner.Patrick Procktor in the National Gallery of Australia's Kenneth Tyler Collection In 1984 he was commissioned to paint a reredos for the St John the Baptist's Chapel in Chichester Cathedral. His model for the various figures of St John was his friend, photographer David Gwinnutt<^ Massey, Ian (2010).
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The old chancel is used today as a vestry for the choir and clergy. The area still contains fixtures from its days as the sanctuary before the church was re-ordered in 1960, including a large mosaic reredos by Alfred Hoare Powell with a painted crucifixion scene by Burrows. There also several memorials to past worshippers, including one to Ann Cowper, wife of the Rector John Cowper and mother of William Cowper; valedictory lines by the poet in tribute to his mother are engraved on the memorial, ending "These lines, though weak, are as herself sincere".
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During her career Halse created portrait busts, reliefs and life-size marble statues as well as smaller pieces such as wax figures, medallions and terracotta tiles. She regularly showed works in Paris, at the Walker Art Gallery in Liverpool, in Manchester, Glasgow and also in London, including at least 33 pieces at the Royal Academy between 1878 and 1920. Her 1887 relief sculpture, The Pleiades, is held by Glasgow Museums. Other institutions and several churches acquired, or commissioned, works by Halse, most notably the large reredos of the Crucifixion in the Church of St John the Evangelist in Ladbroke Grove.
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The charmingly-situated chapel of Saint-Goulven, dating from the seventeenth century, possesses a coloured reredos, representing the Last Supper in relief. Its font dates from 1652. The chapel of Saint-Maudez, dating from the beginning of the 16th century, features a handsome entrance in the form of an accolade, as well as unusual gargoyles. The principal attractions of the chapel of Saint-Carré (or Notre Dame de Pitié) is its bell-tower, its external oratory beneath the porch, the two pillars of the gate to the parish church enclosure as well as a font dating from 1700.
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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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He was back in England by 1851 and began his career as a sculptor, setting up a studio in Lichfield, Staffordshire.Meacham, C.S., Lives of the Brothers T.P. & S.P. Wood, (1920). Wood undertook work on many Staffordshire and west Midlands buildings, including the reredos at All Angels' Church, Colwich; corbels and bosses at St. Stephen's Church, Great Haywood, an oak lectern for Stowe by Lichfield; and a crucifixion and resurrection at Ashbourne, Derbyshire. He also sculpted fireplaces at Bishton Hall, Staffordshire, the figure of Victory on Burslem Town Hall and worked on the facade of Birmingham Town Hall.
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The marble reredos contains a painting that is an exact replica of one in the Shrine of Our Lady in Pompei. It was given to the church in 1895 as a gift by Annie Leary. The painting is situated within a Romanesque arch and depicts the Virgin Mary holding the child Jesus who is handing a rosary to St. Dominic, while his mother hands a rosary to St. Catherine of Siena. This painting originally adorned the church's 210 Bleecker Street building and was cut and moved to its present location with the construction of the church.
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The Keepsake (1898–1901), Tempera on canvas. The St Alban reredos, and a 1938 silver tabernacle Kate Elizabeth Bunce (25 August 1856 – 24 December 1927) was an English painter and poet associated with the Arts and Crafts movement. The daughter of John Thackray Bunce – a patron of Birmingham Museum & Art Gallery and editor of the Birmingham Post during its Liberal heyday – Bunce was born in Birmingham and educated at home. She studied at the Birmingham School of Art in the 1880s, first exhibiting artworks with the Royal Birmingham Society of Artists in 1874 and with the Royal Academy from 1887.
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The tower is buttressed at each corner and has windows with decorative tracery, clock faces, a pinnacled upper stage and a stair turret in one corner. The architectural style is largely Perpendicular Gothic Revival, which was out of fashion by the 1850s, although there are some Decorated Gothic Revival elements. The architect Arthur Ashpitel, who worked extensively in Kent, was associated with Anglican evangelicalism; this may have led him to use the Perpendicular style, which was popular with that movement. Inside, the fittings date mostly from the late 19th century and include a rood screen and reredos by H.S. Rogers.
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St Helen's stands prominently on the top of the island and, visible from the sea on all sides, is the island's most conspicuous landmark. The church is built largely of Lundy granite and the 65-foot-high tower houses 8 bells. The high church interior of polychromed brick is enhanced by some good stained glass (though the fine east window has been partially blocked up due to weather damage) and a beautiful reredos of carved alabaster by Harry Hems of Exeter. St Helena's was completed in 1896 and consecrated by the Bishop of Exeter in 1897.
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St Mary Aldermary Church Interior The church has been repaired and restored many times over the years. In 1876–7 there were major changes to the interior: a new oak screen was inserted dividing the church from the lobby; the pews and stalls were replaced, the organ was moved from the western gallery to the chancel; the floor was repaved, new stained glass put into the windows, and a new reredos installed.Daniel 1892, p.234 The latest interior restoration was finished in April 2005, with special attention paid to the plaster ceilings and the memorials on the north wall.
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The church of St Mary and St Andrew The present day church dates back to the 13th century and has undergone many changes. Much of the building was restored in 1873 with a £1400 donation from the Twinings tea family. Of interest inside the church is the rood screen, dated 1528 and adorned with 12 panels depicting saints, and the elaborate Jacobean font cover.Norfolk churches Retrieved 18 March 2010 The reredos was erected in 1929 by John and Violet Spurrell in memory of their only son, John Francis Brabazon Spurrell, who was killed by buffalo at Kibaya, Tanganyika, in 1927.
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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.
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The ornate east end, with a rich 1930s mosaic on the reredos portraying the Last Supper, contrasts with the simplicity of the rest of the chancel, which was reordered to provide room for a free-standing plain altar. The East Window over the altar is dedicated to the men of the Royal Army Service Corps who lost their lives during the Boer War of 1899–1902. Tablets in the Sanctuary commemorate the 376 men who died. The window depicts The Ascension, The Translation of Elijah, The Crucifixion, Moses and the brazen serpent and Samson carrying off the Gates of Gaza.
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Some Italian columns of the same date (Victoria and Albert Museum) should be compared, much to the advantage of the former. Exeter Cathedral boasts misericords unsurpassed for skilful workmanship; mermaids, dragons, elephants, masks, knights and other subjects introduced into foliage, form the designs. Salisbury cathedral is noted for its stall elbows, and the reredos in the south transept of Adisham, Kent, is another fine example testifying to the great skill of the 13th-century woodcarvers. A very interesting set of stalls, the early history of which is unknown, was placed in Barming church, Kent, about the year 1868.
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The Chancel, where the choir sits, and Sanctuary, behind the altar rail, incorporate 14th and later 19th century work. The later work by Giles Gilbert Scott consists of a lofty space with three bays set below a quasi barrel vault. Under the East window, behind the altar, is a wooden reredos in memory of Major Francis J Ball.Penshurst Church and Village, booklet, available at the church (see also online), accessed 22 July 2015 The Chancel screen was installed in 1897 as a memorial to Charles Hardinge, 1st Baron Hardinge of Penshurst (1858–1944), Viceroy of India from 1910–1916.
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