He loved these old colonial buildings, with their bare stone cells and dusky chapels, their peeling saints and tin retables, crimped with wonder and pain.
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Smaller retables contain depictions of the Virgin of charity and the Christ of charity while the main retable is part of a dizzying display of gold and painted detail.
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In the lateral chapels there are two Gothic retables (c.1500, 1507); one Italian Renaissance retable (16th century); one late Renaissance retable (1610, polycromed in 1617); and five Baroque retables (1642, 1683, 1685).
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In the same year, he bought gold leaf for three retables from the goldsmith Willem van Schorisse in Bruges. It is not known whether these retables were even made. In 1529 he bought gold leaf for three unknown retables from the goldsmith Willem van Schorisse in Bruges. In 1529 he agreed with the dealer Gheerarde van Sulps residing in Aachen to be his exclusive supplier in Aachen for a period of six years.
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At the beginning of the 20th century, the lateral retables were installed (1908), executed by the Florentinos António de Maurício de Fraga and Francisco José Pimentel. It would be another few decades before these retables were guided by the Micaelense artisan António Jacinto Carreiro (in the 1960s).
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Considerably more remarkable than the altar paintings are the reredoses or retables of carved and gilded wood into which the paintings were inserted.
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Between 1770-1773, the retable was completed by friar José de Santo António Ferreira Vilaça, who also designed, the flourishments along the choir, the rosewood pews and the four chapels. Friar José later completed two lateral retables between 1774–1777, while two other retables were completed after him (1777–1780) by José Vilaça. Ironically, by 1785, the church and monastery was practically painted.
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To the right of the pulpit is a door that leads to the sacristy. On angles to the nave, flanking the triumphal archway of the presbytery are retables, positioned on 45 degree angles. Within the main chapel, on either side, are doors that connect to the sacristy and storage annex. The lateral retables and principal chapel are gilded Revivalist decoration and partially painted, while the ceiling of the nave and presbytery are decorated in wood.
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By 1774, work was preceding slowly, and the retables were only being completed at the time. There is no indication associated with its completion. Between 1971 and 1975, restoration work on the original foundation and interiors were undertaken.
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From 1896 to 195, the old chapel in the parochial church was expanded, under the initiative of Father Caetano Bernardo de Sousa, then the parish priest. The collateral retables were designed and sculpted by Father Guilherme, priest for Mosteiro and Fazenda das Lajes.
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The two retables in Dijon Museum, the work of Jacques de Baerze (1301), a sculptor of Flanders, who carved for Philippe le Hardi, Duke of Burgundy, are masterpieces of design and workmanship. The tracery is of the very finest, chiefly gilt on backgrounds of diapered gesso.
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The lateral retables, painted in beige, blue and brown marble are dedicated to The Death of Saint Joseph (to the left) and Our Lady of Solitude (to the right). To the left of the epistle, the rectangular pulpit sits on a marbled based with a wood guard painted in white, with access achieved through a laterl (left) staircase. The presbytery is on an elevated platform accessed by four central steps, leading to a triumphal archway on tuscan pilasters, surmounted by coat-of-arms. Flanking this archway are the lateral retables at angles, painted beige, blue and gold, dedicated to the Crucifixio (on the left) and Saint Anthony receiving Jesus and Mary (on the right).
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The main altar with window on the either side, next to the retables, is decorated in a Revivalist-style (or even Rococo) consisting of gilded woodwork. The ceiling of the nave, main chapel and baptistery are in wood, simulating vaulted ceilings, with a large cornice at the base of the nave's ceiling.
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At the front of the nave, there are two retables with gilded carvings, protected by iron railings, that shelter the image of the Sacred Heart of Jesus (pulpit side) and Our Lady of Fátima (epistle-side), both flanked by pews. The floors are in wood, while the angular roof, is divided into square boxes, painted along the centre with the images from the life of the Virgin, while along the two lateral rows show scenes from the life of Christ. On the extreme ends of the nave are symbols representing the martyrdom of Christ, while a triumphal arch, filled with a gilt valance. The main chapel has two closets and two lateral niches, framed in stone and trimmed with curved pediment, with carved and gilded retables.
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In the choir aisle the beautiful lattice work and the vault of the Mondragon chapel (1521) stand out. The radiating chapels constitute a museum of paintings, retables, reliquaries and sculptures, accumulated throughout the centuries. In the Chapel of the Reliquary () is a gold crucifix, dated 874, containing an alleged piece of the True Cross.
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12 Today the buildings house a psychiatric hospital, and "aller à la chartreuse" is a local phrase for developing a mental disorder. The Sluter sculptures can be seen by visitors, and many of the contents are in the Dijon museum, with the tombs and carved retables housed in the former Palace of the Dukes.
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At the same time, he erectedThese altarpieces are neither dated nor signed, but for Jacques Salbert, characteristic of his work. three retables lavallois in Séglien,This altarpiece is sometimes incorrectly attributed to Tugal Caris. Ploërdut and Locmalo. On April 7, 1657, he lived in AurayAccording to the act of sale of the house in .
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The main roof beams are exposed and emblazoned with biblical and commemorative captions. The door leading from sanctuary to sacristy is also carved with flowers enclosed in boxes. Retablo mayor There are three church retables, all brightly polychromed. The image of the Assumption of Mary is placed in the main retable, in the main niche.
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Vlieghe, 13. In the retables of de Vos, for example, "a tempered Mannerism is combined with a preference for narrative that is more in line with Netherlandish tradition".Vlieghe, 13. In Flanders, though not in the United Provinces, the mostly temporary displays for royal entries provided occasional opportunities for lavish public exhibitions of Mannerist style.
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The Museum’s collections are highly diverse, both in terms of origin and type, and comprise archaeological materials from prehistoric, Iberian, Roman, Medieval and modern times, natural specimens, historical objects and an art collection made up of religious retables and carvings and Baroque, Art Nouveau and Noucentista paintings, of which a series of engravings by Goya are of particular note.
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The blind eastern wall is topped by gable with cornice. The nave is illuminated by two windows to south and north. On the south side is a pulpit with a square base of stonework and a decorated balcony. It integrates two symmetrical altars, embedded in arches full of stonework and with retables in gilded carving and painted boards.
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The Monastery of Santa María de El Paular, built toward the end of the 14th century, is located only 8 km northeast of the natural park in the district of Rascafría and in the center of Lozoya Valley. Its construction was ordered by King Enrique II of Castille. The building was declared a national monument in 1876. Notable are its cloisters, the church atrium, and the retables.
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By the last quarter of the 19th century, the church continued to be remodelled in some form, which included the construction of the valance of the triumphal arch and the lateral retables of the chancel were constructed. On 3 August 1931, the administrative table of the Misericórdia begins to be managed by an administrative commission. But, by 28 February 1955, this group realized its last session.
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The archways that correspond to the false transepts end at a cornice that mark the beginning of the vaulted ceiling. A high-choir exists on the extreme nave opposite the main altar. Among various retables in gilded woodwork, is the one on the side of the epistole, which have characteristics that Joanino, framed by an investment of figurative azulejo tile that is equally Joanino in character.
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SR. PE. / JOSÉ FURTADO MOTA, / NO 50º ANIVERSÁRIO / DA SUA ENTRADA / NESTA PARÓQUIA EM 1909, / ONDE REALIZOU VÁRIOS E / IMPORTANTES MELHORAMENTOS :Homage / to Reverend Sir Father / José Furtado Mota / on the 50th Anniversary / of his entry / to this parish in 1909 / where he realized various and / important improvements On each of the walls of the nave, in the centre, is a door to the exterior, flanked by two high windows. Opposite the epistole between the last window and the triumphal arch, is a pulpit over stone and corbel. The archway accesses the altar and chancel with complimentary doors and windows on each wall (one to the sacristy and one to the exterior), and the structure is flanked by two retables oriented on 45º angles. At the end of altar is a retable that includes cartouche with a crown and the inscription: :NOSSA SENHORA DOS MILAGRES :Our Lady of Miracles The retables and pulpit guardrail are in painted Revivalist woodwork.
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By the 15th century, altarpieces were often commissioned not only by churches but also by individuals, families, guilds and confraternities. The 15th century saw the birth of Early Netherlandish painting in the Low Countries; henceforth panel painting would dominate altarpiece production in the area. In Germany, sculpted wooden altarpieces were instead generally preferred, while in England alabaster was used to a large extent. In England, as well as in France, stone retables enjoyed general popularity.
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The interior of the church is replete with polychrome sculpture and decoration. Dominating the nave is a 16th-century rood screen, showing the crucified Christ, attended by the Virgin Mary and St John the Apostle. Below this, scenes of the Passion are represented in rich detail. A number of complex retables focus on the Passion and on the lives and deeds of saints, including John the Baptist, St Margaret the Virgin, and St Lawrence.
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The Beautiful Angèle by Paul Gauguin Until the 19th century, Catholicism had been the main inspiration for Breton artists. The region has a great number of baroque retables, made between the 17th and the 19th century. Breton sculptors were also famous for their ship models that served as ex-votos and for their richly decorated furniture, which features naïve Breton characters and traditional patterns. The box-bed is the most famous Breton piece of furniture.
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During the Spanish Civil War the organ and all the retables were destroyed. In 1505 started the construction of Obra de Fluvià (or alternatively called Obra de santa Llúcia) in an estate previously acquired by the Bishop of Urgell, a building planned to be a residence for the Bishop. In 1514 the works were interrupted. Its remains are located a kilometer away in the Northeast, nearby the confluence between the Fluvià River and its tributary the Sió River.
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It is enclosed with a well-worked screen by Domingo de Céspedes. The chapel contains three interesting retables: the center retable has eleven good Hispano-Flemish panels and a relic of the Holy Face of Jesus, a present from Pope Innocent X, which King Philip IV commanded to be placed here. :Chapel of Saint Ann: has a fine Plateresque screen and contains the tomb of its sponsor, Juan de Mariana. It is one of the smallest chapels.
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He created large-scale works such as retables, partitions and fireplaces. He was particularly known in Antwerp for his small images, jewelry for cabinets of curiosities and the sculpted decorations of facades. Van den Broecke's surviving works in his home country are relatively few. There are busts of Jan van Eyck and Albrecht Dürer that he made for the portal of Jan Adriaenssen's house in the Lange Nieuwstraat in Antwerp (now in the collection of the Museum aan de Stroom, Antwerp).
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The interior, comprised a unique nave with vaulted ceiling, with five framed sections that includes plastered decoration, and extends to architrave. Above two columns is high- choir in wood with balustrade, with a common access that provides access to the bell-tower. There are also two lateral doorways, a wood pulpit and two collateral retables with architrave decorated in wood. The main chapel shelters four arcosoliums linked by two structures that uniquely divided by two arches, covering three urns and ornate state.
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At the apex of the pediment is a medallion representing Our Lady of the Rosary. To the left of the door is the two-storey bell-tower, topped by a pyramidal spire and pinnacles on each corner. The interior of the church contains many valuable religious art, of which its gilded retables are its most prized. In addition, it is also decorated by several paint panels, that include the Resurrection, the Last Supper, the Ascension of Christ, and Four Evangelists, among others.
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Before the triumphal arch, on either side of the nave, is a door to each of the sacristies. The door to the pulpit, much like sacristies, have double lintels surmounted by a cornice, with the sacristy doors further surmounted by niche with flanked pinnacles. In the interior of the sacristy to the left, is a wood staircase that connects it to the pulpit and upper storage area. On either side of the presbytery are two retables place in 45 degree angles.
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Opposite the epistle is a square pulpit, accessible by stonework and guarded in wood balustrade under cornice, from the anti-sacristy. The triumphal archway of the altar area is constructed over pilasters flanked by two collateral retables, placed on angles and decorated in polychromatic and gilded woodwork. From the presbytery, on either side, are doors that link the sacristy and annexes. On a cartouche over the window of the presbytery, opposite the epistle, is a plaque with the inscription 1901.
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His Portrait of Juan Lopez Gallo and His Three Sons (1568) reflects both Pourbus' artistic style and the strength of his ties to the Spanish upper class. There, Pourbus dealt with his clients' differing customs by adjusting the size of his retables to suit the size of altar that was customary in Spain at the time. Sometimes, he left the actual execution of paintings for his more distant clients to atelier staff, as shown in his Mount at Calvary in the Cathedral of San Pedro of Soria.
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To the left of the altar is the rectangular pulpit on two cantilevers, decorated with a diamond anthemion surrounded by lanceolate, with access to the straight door lintel. The pulpit is surmounted by carved canopy to the level of the roof cornice, decorated with the dove of the Holy Spirit inserted in a circular cartouche. The presbytery is delineated by a lattice balustrade. The triumphal arch is decorated in red painted leaf, surmounted by a crown and flanked by two lateral retables in gold-leaf at angles.
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Near the retables are doors to the lateral corridors. Over the cornice is the roof-line of the nave supported by rounded wooden beams, painted with phytomorphic friezes and cartouches, the centre large and cut, with marine symbols and inscriptions. The presbytery and altarpiece have polychromatic red and gold tile, in a rectangular alignment defined by six columns, decorated with birds and small fish over high plinths decorated with acanthus and shells. Corinthian capitals extend toward the attic in archivolts, united by radii with a pelican cartouche.
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It was built in the Mannerist style, similar to innumerable retables surviving in Roman churches, such as St. Peteŕs and the Church of the Gesù. It is the oldest surviving altar piece in a Jesuit church in Portugal, remarkable in its precocious use of marbles inlaid with colour.See Lameira, O Retábulo, p. 57. At the centre of the alar piece is a highly dramatic sculpture with distinct Baroque characteristics of Our Lady of Mercy, or Pietà, in colourful upholstered wood of the 18th century.
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Parish closes today form the foci for pardons, the annual Breton pilgrimage festivals, which can attract thousands of worshippers. The parish close of Guimiliau is situated at the upper end of the main village street, with the entrance dominating the village. The calvary or crucifix is the centre piece of the church yard, surrounded by a fine and complex retelling of the Passion in statuary. See Calvary at Guimiliau The church contains many fine examples of polychrome sculpture from the sixteenth century onwards, including several large retables.
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On either side of the archway, at the front of the lateral naves, are retables, surmounted by cornices and topped circular oculi. Above the triumphal archway, the frontispiece is divided by cornice that separates a decorative/symbolic element and six stars from a rectangular window. The presbytery and chancel is as deep as the central nave. On the ambo-side is a door that provides access to the storage room with two windows, and on the opposite wall a similar configuration (although the door is closed-off).
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At the foot of the main chapel, in an elevated space is the retable which (similar to the lateral retables) is decorated in Revivalist gilded and painted woodwork, which is almost Neoclassic in its style. The vaulted ceiling and walls are painted in figurative panels encircled by decorative motifs. The ceilings of the three naves, chapel, sacristy and lateral chapel (storage) are constructed in wood producing a vaulted appearance, supported by large cornices. The ceilings of the naves and sacristy are painted in blue.
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Through it one reaches a large courtyard, at the end which is a wide staircase leading to the entrance of the church. The church, of early 16th century style and plan, has three entrances, one for the faithful and the other two for monks and clergy. Its plan has a single nave divided into four sections, highlighting the retables of Juan Sánchez Cotán and the chancel's glass doors, adorned with mother-of- pearl, silver, rare woods and ivory. The presbytery is covered by elliptical vaulting.
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Born in Florence, Robbia was the son of Marco della Robbia, whose brother, Luca della Robbia, popularized the use of glazed terra-cotta for sculpture. Andrea became Luca's pupil, and was the most important artist of ceramic glaze of the times. He carried on the production of the enamelled reliefs on a much larger scale than his uncle had ever done; he also extended its application to various architectural uses, such as friezes and to the making of lavabos, fountains and large retables. One variety of method was introduced in his enamelled work.
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On connaît de lui plusieurs retables ou panneaux peints pour les églises de Huesca ou de la région et qui furent naguère groupés sous le ... Juan de la Abadia ( 15th century) was a marrano who engaged in a project to subvert the Inquisition in Aragon; failing in this, he joined in a plot to assassinate the inquisitor Pedro de Arbués, who was wounded on September 15, 1485, and died two days later. De la Abadia was apprehended, and, according to Heinrich Graetz, committed suicide in prison.Graetz, Heinrich. History of the Jews.
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Landscape is often richly described but relegated as a background detail before the early 16th century. The painted works are generally oil on panel, either as single works or more complex portable or fixed altarpieces in the form of diptychs, triptychs or polyptychs. The period is also noted for its sculpture, tapestries, illuminated manuscripts, stained glass and carved retables. The first generations of artists were active during the height of Burgundian influence in Europe, when the Low Countries became the political and economic centre of Northern Europe, noted for its crafts and luxury goods.
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Winged triptych made by Jan van Wavere in 1520 (Vienna, Austria) Winged triptych made by Jan van Wavere in 1515 (parish church of Jäder, Sweden) Jan Van Wavere ( ? -1521/22) was an influential Flemish polychromer of late gothic Brabantine altarpieces (also called retables), mainly produced in the Brabantine towns of Antwerp, Brussels and Mechelen. During the 15th–16th century, over 1000 altarpieces were traded and exported to many European countries. More than 300 complete examples of Brabantine altarpieces can still be found in museums and churches all over Europe, from the Baltic countries (e.g.
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Between 1868 and 1869 a wooden choir was installed, without reusing the existing tile. Two niches were constructed sometime during the 19th century, resulting in the destruction of some figurative azulejo tile. The Catholic church, around 1968, began reconstruction of the church's roof and annex, in addition to removing the wood from the corner of the nave and reparation of the pavement, the doors and frames were repaired and there was re-plastering and lime of the facades. It was at this time that the choir, pulpit and lateral retables were removed.
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Obradoiro façade of the Cathedral of Santiago de Compostela In contrast to the art of Northern Europe, the Spanish art of the period appealed to the emotions rather than seeking to please the intellect. The Churriguera family, which specialized in designing altars and retables, revolted against the sobriety of the Herrerian classicism and promoted an intricate, exaggerated, almost capricious style of surface decoration known as the Churrigueresque. Within half a century, they transformed Salamanca into an exemplary Churrigueresque city. The evolution of the style passed through three phases.
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She came to believe that all of the major issues with the Ghent work—scale, unification of message, and attribution—could be explained by the presence of a surrounding framework, elaborately sculpted in the manner of a reliquary or church tabernacle.Swan, p. 37–38 In 1964 she identified several contemporary retables that included sculptural frameworks similar to that she envisioned had originally existed for the Ghent piece. She presented her findings at the College Art Association's annual conference in January 1965, and subsequently lectured on the topic at nearly 40 colleges and museums.
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In August 1650, Father Manuel da Anunciação ordered the opening of five tombs, including his own, in the presbytery, between the lateral retables. The following year, on 17 February 1651, Father Manuel da Anunciação died, and a year later, his bones were moved to the credenza in the altar. In 1659, the clergyman João Roiz Vitória provided funding for a few public works, with the acquisition of bunks and gratings, a silver custodio and some ornaments. D. Manuel Luís Baltazar da Câmara, 1st Count of Riberia Grande, and 8th Donatary-Captain of São Miguel visited in September 1664, along with his wife.
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The church interior consists of three rectangles coinciding with the choir, nave an presbytery. The choir, separated by railing with long high-back choir stalls, line the whole chorus-bass, an intermediary body with rectangular edicules that shelter images and decorated by three lines of arcs with lunettes. Its single larger nave, divided is divided into two registers and rhythmically marked by sections with Tuscan pilaster, while above they appear as inverted pyramids. The lateral chapels include shallow archivolts, with retables of gilded carvings, one with a pulpit and the other with lateral entrance to the temple.
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Towards the end of this epoch wood-carving reached its culminating point. The choir stalls, rood- screens, roofs, retables, of England, France and the Teutonic countries of Europe, have in execution, balance and proportion, never at any time been approached. In small designs, in detail, in minuteness, in mechanical accuracy, the carver of this time has had his rivals, but for greatness of architectural conception, for a just appreciation of decorative treatment, the designer of the 15th century stands alone. Gothic beauty in carved wood It should always be borne in mind that color was the keynote of this scheme.
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On the continent some of the finest figure work is to be found in the retables, some of which are in the Victoria and Albert Museum. A Tirolese panel of the 15th century carved in high relief, representing St John seated with his back to the onlooker, is a masterpiece of perspective and foreshortening, and the drapery folds are perfect. The same may be said of a small statue of the Virgin, carved in lime by a Swiss hand, and some work of the great Tilman Riemenschneider of Wurzburg (1460–1531) shows that stone sculptors of medieval times were not ashamed of wood.
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The north façade has two rectangular windows at the nave and chancel, while two windows and door on the southern façade. The frontispiece follows the model of the Church of São Vitor (Braga), although simplified, that introduces some modifications, such as the arch on the portico. It has several structural affinities with the front facade and interior of the Church of the Misericórdia in Monção. Much like in the churches of Monção and Ponte de Lima, this church has squared-off vaulted ceilings over cornices that are supported by corbels, and lateral niches with Neoclassical gilded retables, hiding much of its structure.
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In Italy both stone retables and wooden polyptychs were common, with individual painted panels and often (notably in Venice and Bologna) with complex framing in the form of architectural compositions. The 15th century also saw a development of the composition of Italian altarpieces where the polyptych was gradually abandoned in favour of single-panel, painted altarpieces. In Italy, during the Renaissance, free- standing groups of sculpture also began to feature as altarpieces. In Spain, altarpieces developed in a highly original fashion into often very large, architecturally influenced reredos, sometimes as tall as the church in which it was housed.
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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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These naves are covered by wood ceilings and false vaults over granite cornices. The high choir, in wood, with balustrade overhangs the lower choir and interior baptistry, situated in the tower. In the third pillar opposite the epistle is a wooden pulpit, with rectangular basin over corbels (also in wood) that contort around the pillar with guardrail decorated in palms and crosses, surmounted by baldachin and reached by stone stairs, with guard of wooden balusters, skirting the pillar. At the front of the lateral naves are chapels under triumphal archways sheltering the retables in polychromatic and gilded woodwork, surmounted by oculi.
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It was master João Jacinto Teixeira, under the orientation of the vicar of Santa Cruz, monseigneur Henrique Augusto Ribeiro, that supported the construction of the temple. The church was finally consecrated on 25 March 1906, although further work in the interior persisted, with the execution of retables by Faialense artisan Manuel Augusto Ferreira da Silva. At the same time, the curia of Senhor Santo Cristo da Fazenda das Lajes was installed in the community; the first was Father Francisco Cristiano Korth, whose stipend was paid by the locals. In 1912, the image of the Bom Pastor (Good Shepard) was acquired by the congregation.
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His masterpieces are the paintings of the kings of Judah, noting especially King David, which are situated on the high altar of the church of Santa Eulalia de Paredes de Nava (Palencia) illustrating scenes from the Life of the Virgin and portraits of several biblical kings. Despite archaic elements (frontal composition, gold background), they are a gallery of portraits of intense realism. He created several versions of the birth of the Virgin and scenes from her life for several retables, but the one at Santa Eulalia remains the most famous. This altarpiece is one of the few that can be certainly attributed to Berruguete el Viejo through documentation.
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Santa Eulàlia de Palma, which contains some of Móger's work Gabriel Móger or Mòger (1379/1384 – before December 1439) was a Majorcan painter, sculptor, and poet. He was employed primarily for work on retables and altarpieces by the churches of Majorca. Though Móger's active painting career can be dated to 1426-38 on the basis of surviving documents, his poetic encounter took place some years earlier. A document of 8 March 1404 calls him minor xxv annis et maior tamen xx (less than twenty-five years old and greater than twenty). By 2 January 1414 he was married and the poem was most likely composed between those dates.
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This sober brick Baroque of the 17th century is still well represented in the streets of the capital in palaces and squares. Estipite in the Basilica of Vera Cruz in Caravaca de la Cruz In contrast to the art of Northern Europe, the Spanish art of the period appealed to the emotions rather than seeking to please the intellect. The Churriguera family, which specialized in designing altars and retables, revolted against the sobriety of the Herreresque classicism and promoted an intricate, exaggerated, almost capricious style of surface decoration known as the Churrigueresque. Within half a century, they transformed Salamanca into an exemplary Churrigueresque city.
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Jacques Salbert indicates that it had an original place in the Laval altarpiece by its double convexity of the wings framing the large recessed central painting. In 1672, he had the following transported from Nantes to and at the hâvre of Pontrieux marble and tufa.three cents of tufa, 6 columns of 7 feet marble, 4 columns of 6 feet, 2 of 5, 18 half balusters Jacques Salbert thinks that an altarpiece was built in the chapel of the Château du Taureau, and that the rest of the material was used to build the altarpiece of Guingamp.Attributed to Olivier Martinet by Hervé du Halgouët, Les retables de chevet au XVIIe et au XVIIIe, .
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Pulpit decorated by Johann Michael Feichtmayr and Johann Georg Ueblherr The Austrian stuccoer Franz Josef Holzinger of Sankt Florian was commissioned to do the stucco work (1739-1741). However, he was forced to interrupt his work by the War of the Austrian Succession, and his commission was later discontinued, as his stuccoing was unsatisfactory. The work was continued by the Augsburg-born master stuccoers, Johann Michael Feichtmayr and Johann Georg Ueblherr, two members of the Wessobrunner School. They applied the then highly admired and fashionable rocaille cartouche ornamentation, redecorated Holzinger’s stuccoing with great skill, created the lively curved retables surrounding the large altar-pieces, and fashioned the pulpit as well as the casing of the choir organ.
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The nave is strengthened by three robust toroidal arches and the walls are decorated by nine Joanino (King John's style) Baroque altars, in gilded woodcarving, displaying 18th century sculptures. Its retables are notable, especially the one from the chancel, exceptionally rich, in rococo style, made-up by six composite order capital columns. The Rocaille woodcarvings were created in the beginning of the style in Entre-Douro-E-Minho, between 1755–1758, and was the work of André Ribeiro Soares da Silva (1720-1769). In the assets of the church, there's a green damson plum chasuble, with fine silk needlework, from the 16th century and an icon of Nossa Senhora da Boa Viagem from the 17th century.
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Michael Wolgemut (formerly spelt Wohlgemuth; 143430 November 1519) was a German painter and printmaker, who ran a workshop in Nuremberg. He is best known as having taught the young Albrecht Dürer. The importance of Wolgemut as an artist rests not only on his own individual works, but also on the fact that he was the head of a large workshop, in which many different branches of the fine arts were carried on by a great number of pupil-assistants, including Albrecht Dürer, who completed an apprenticeship with him between 1486 and 1489. In his atelier large altar-pieces and other sacred paintings were executed, and also elaborate carved painted wood retables, consisting of crowded subjects in high relief, richly decorated with gold and colour.
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The presbytery and architectural facade, showing the three stories, with doors, sculptures of Peter and Paul and windows The medallion in the main nave, showing an angel lancing a dragon, the Virgin Mary and God surrounded by cherubs The singular nave consists of a high-choir over stone pillars, a sillar of marble azulejo tile and stucco vaulted-ceiling. In addition, there is a baptistery, to the left of the altar, six lateral chapels and raised pulpit to the left of the altar. The concave chapels are designed within a Roman arch, and include gilded retables, are all covered in vegetal elements. The last altar, deeper than the rest, includes imagery from the Last Supper and a ceiling painting of the Holy Spirit.
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To the north, the Casa dos Pesos was constructed, with collateral retables, as well as a pulpit in front of the Chaepl of Santo Cristo. In 1626, a cross was constructed in Trancoso. The principal building project was completed in 1635, and included an annex Casas de Novenas, to support pilgrims that wished to stay overnight, and the Estalagem das Varandas, a two-storey building for more affluent pilgrims. To the south, they erected tents (later substituted by nine vaulted shops), and in the courtyard 30 quarters eventually popped-up, housing 100 people. The walls of the church, meanwhile, were painted by Manuel Henriques, a cleric in the Society of Jesus, consisting of 24 panels that also depicted the pastoral life of Joan, and the miracles of the Virgin Mary.
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In Santa Maria in Grado is a noble retable with angels holding a crown over a standing figure of the Madonna; a number of small figures of worshippers take refuge in the folds of the Virgin's mantle, a favourite motive for sculpture dedicated by guilds or other corporate bodies. Perhaps the finest collection of works of this class is at La Verna, not far from Arezzo. The best of these, three large retables with representations of the Annunciation, the Crucifixion, and the Madonna giving her Girdle to St Thomas, are probably the work of Andrea himself, the others being by his sons. In 1489 Andrea made a relief of the Virgin and two Angels, now over the archive-room door in the Florentine Opera del Duomo; for this he was paid twenty gold florins.
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Although the Netherlandish artists are primarily known for their panel paintings, their output includes a variety of formats, including illuminated manuscripts, sculpture, tapestries, carved retables, stained glass, brass objects and carved tombs.Nash (2008), 87 According to art historian Susie Nash, by the early 16th century, the region led the field in almost every aspect of portable visual culture, "with specialist expertise and techniques of production at such a high level that no one else could compete with them". The Burgundian court favoured tapestry and metalwork, which are well recorded in surviving documentation, while demand for panel paintings is less evidentCampbell (1976) 188–189 – they may have been less suited to itinerant courts. Wall hangings and books functioned as political propaganda and as a means to showcase wealth and power, whereas portraits were less favoured.
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On the left cartouche is the AVE monogram, with the inscription ORA PRO NOBIS, while the right cartouche, with a carved open book, has the inscription QUABRITO PRIMUM REGNUM DEI. Over the windows on the second register of each bell tower are the insciprtions 21-IX-1895 (on the left) and 4-VI-1911 (on the right). The interior of the Church show the main altar and one of the six lateral retables Sensibly recessed from the main facade, the three-story towers are separated by cornices and friezes, with the two inferior floors occupied by rectangular windows, and the third register occupied by the belfry, with Roman Arch and flanked by pilasters. The lateral facade of the bell towers have narrower arches, while the posterior facades include three narrower arches.
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The view of the facade of the Church of Senhor do Socorro, showing the royal coat-of-arms, marking the influence or patronage of the Portuguese Corte A view of the Church on the grounds, with terraced gardens The construction of the church began in 1773, possibly with royal grants given the presence of the coat-of-arms located on the frontispiece. A votive offering was already occurring at the site by 1774. Work on the sanctuary continued the rest of this centre, with decoration and public artwork installed in the retable and chancel. The cost of the work on the collateral retables were readjusted by painters Manuel José Afonso (from the parish of Sapo) and Manuel Martins da Cunha (resident of Covas) to the tune of 78$200 reis on 15 December 1777.
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Although it is unclear where Bermejo received his training, his complete mastery of the oil glaze technique suggests direct contact with 15th century Flemish painting, which he was able to adapt perfectly to the demands of Spanish altarpieces of the period: large-scale retables with many panels. Though his documented career spans over thirty years, he was peripatetic: he never settled in one place for more than a decade. Also, in a period and place where painting was a business, and work was generally negotiated by contract, there is both direct and indirect evidence that he was professionally unreliable, though apparently his outstanding talent made patrons willing to take the risk. One contract (discussed below) contained a clause providing for the excommunication of the painter in the event of unsatisfactory performance.
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Some of Seville's grandest churches were built in the Baroque period, several of them with retables (altar-pieces) created by accomplished artists; many of the traditional rituals and customs of Holy Week still observed in Seville, including the display of venerated images, date from this time. At the heart of the Semana Santa (Holy Week) processions are the religious brotherhoods (Hermandades y Cofradías de Penitencia), associations of Catholic laypersons organised to perform public acts of religious observance, in this case acts related to the Passion and death of Jesus Christ and done as a public penance. The hermandades and cofradías (brotherhoods and confraternities) organise the processions during which members precede the pasos dressed in penitential robes, and, with a few exceptions, hoods. The pasos at the centre of each procession are images or sets of images placed atop a movable float of wood.
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The plain surfaces of the panels were also adorned with saints, often on a background of delicate gesso diaper, colored or gilded (Southwold). Nothing could exceed the beauty of the triptychs or retables of Germany, Flanders or France; carved with scenes from the New Testament in high relief arranged under a delicate lacework of canopies and clustered pinnacles glistening with gold and brilliant colors. In Germany the effect was further enhanced by emphasizing parts of the gilding by means of a transparent varnish tinted with red or green, thus giving a special tone to the metallic luster. The style of design used during this great period owes much of its interest to the now obsolete custom of directly employing the craftsman and his men, instead of the present-day habit of giving the work to a contractor.
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In 1682 the body of Cardinal Henrique in the transept chapels was buried. On 29 September 1855, the body of King Afonso VI was transported to the royal pantheon of the House of Braganza in the Monastery of São Vicente de Fora, along with his three brothers and sister. The Monastery in the mid-18th century In 1663, the Brotherhood of the Senhor dos Passos occupied the old Chapel of Santo António, which was redecorated with a gold tiled ceiling in 1669, while the staircase frescos with the heraldry of Saint Jerome were completed in 1770. The retables were completed in 1709 and 1711, valuable alfaias were presented to the religious order, and the sacristy was redecorated in 1713. The painter Henrique Ferreira was commissioned in 1720 to paint the Kings of Portugal: the regal series was placed in the Sala dos Reis (Hall of the Kings).
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The genius of this great carver shows itself in the large variety of the facial expression of those wonderful figures all instinct with life and movement, In France few retables exist outside the museums. In the little church of Marissel, not far from Beauvais, there is a retable consisting of eleven panels, the crucifixion being, of course, the principal subject. And there is a beautiful example from Antwerp in the Muse Cluny, Paris; the pierced tracery work which decorates the upper part being a good example of the style composed of interlacing segments of circles so common on the Continent during late Gothic times and but seldom practised in England. ln Spain the cathedral of Valladolid was famous for its retable, and Alonso Cano and other sculptors frequently used wood for large statuary, which was painted in a very realistic way with the most startlingly lifelike effect.
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On 21 August 1822, the first count of Lapa, Manuel de Almeida Vasconcelos de Soveral de Carvalho de Maia Soares de Albergaria was first invested in his title. In 1834, the Government of Portugal transferred the sanctuary, definitively, to the senate of Caria, followed ten years later (1844), with the return of the Church's possessions to the Bishopric of Lamego, by the Court of the Exchequer. This return had the effect of reigniting donatives and decoration in the sanctuary: in 1852, the painter Carlos Augusto Massa, from Cujó, began work on several works, in 1879, the retables were re-gilded (at a cost of 374$520 réis); issues with the azulejos, which were in deteriorating conditions, were addressed; and, in 1881, a new image of Saint Anthony was purchased. On 22 July 1884, João de Almeida de Araújo was named by bishop António da Trindade, to act as primary instructor at the college.
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Dijon Museum links above The retables were transported to Dijon from Dendermonde in August 1391, but were returned to Flanders a year later.Grove, op cit There, the painting and gilding was finished by Broederlam at his studio in Ypres; guild regulations usually mandated that the carving and painting or guilding were performed by members of different guilds. They were returned to Champmol, approved by a committee including Claus Sluter, and installed by the end of 1399, after which de Baerze disappears from documented records. The altarpieces were moved after the French Revolution to the Musée des Beaux-Arts de Dijon, along with the Broederlam panels,Dijon Museum which now, unlike at the time of their creation, receive more attention than the carvings, as they are of great significance in the development of Early Netherlandish painting,Snyder, 71 and 293-4 and painting is generally of greater interest to modern art historians than sculpture.
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De Baerze's two retables are probably the earliest Netherlandish examples to survive complete, although there were evidently many more such works in existence by this date, and the form probably developed first in the Low Countries. With hardly any works from the period to compare to those in Dijon, it is hard to assess the originality of de Baerze, or his place in the tradition, though he clearly participates in the International Gothic style of the period. Presumably most of his work was for local churches and religious houses. In fact the iconoclasm after the Reformation was so destructive of Netherlandish wood- carved altars that only a few fragments survive there from the following eighty years, while Germany has many examples.Snyder, 293-4 Other smaller carvings attributed to de Baerze survive, including the 28 cm high figure from an altar crucifix which formed part of the Champmol commission, now in the Art Institute of Chicago,Art Institute of Chicago see also for a bibliography on de Baerze.
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In the Middle Ages, during the Judicates period, the architecture of the churches were enriched with capitals, sarcophagi, frescoes, marble altars and later embellished with retables, paintings by important artists such as the Master of Castelsardo, Pietro Cavaro, Andrea Lusso, and the school of the so-called Master of Ozieri who was headed by Giovanni del Giglio and Pietro Giovanni Calvano, of Senese origin. La madre dell'ucciso (the mother of the killed) by Francesco Ciusa (1907) In the nineteenth century and in early twentieth century originated the myths of an uncontaminated and timeless island. Recounted by the many travelers who visited Sardinia in that period, like D. H. Lawrence, such myths were celebrated mainly by Sardinian artists such as Giuseppe Biasi, Francesco Ciusa, Filippo Figari, Mario Delitala and Stanis Dessy. In their works they highlighted the autochthonous values of the agro-pastoral world, not yet homologated to the modernity that was pressing from the outside.
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Image with pastiglia relief work, elaborate glass inlays, inset semi-precious stones and paste gemstones, to imitate the lavish goldsmith's metalwork found on some surviving retables and shrines on the Continent, and the now destroyed Shrine of Edward the Confessor installed in the Abbey in 1269.Tudor-Craig, 115-6. For example the Pala d'Oro in Venice (compared by Tudor-Craig, 102), or the Shrine of the Three Kings in Cologne. The composition has a central section with three tall narrow openings defined by tracery containing full-length figures of Christ holding a globe as Salvator Mundi, flanked by the Virgin Mary holding a palm, and St John the Evangelist. To the sides are two sections each with four small medallions containing depictions of the Miracles of Christ, those to the right missing completely and those to the left showing the raising of Jairus’ daughter, the healing of the blind man, the feeding of the 5,000 and another subject, too defaced to identify.
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The large boulder that shelters the retables of the church and niche dedicated to Our Lady of the Grotto The church/sanctuary is located in an isolated rural environment of Quintela, on the mountain of the same name, over an accented rocky plateau, near the mouth of the Ribeira de Gradiz. The sanctuary is actually erected on a slightly sloping ground, over a large granite pediment. The site includes four rock crosses, referred to as Miradouros which are oriented towards the four cardinal points: the northern cross, called Forca dates to 1672, and is dedicated to Saint James; to the south, is Aguiar da Beira, situated around away, and dedicated to Saint Dominic; in the east, Trancoso dating to 1626; and to the west, Lamego, dedicated to Our Lady of Piety (), situated away, and which includes a pillar surmounted by a niche, with the image of the Virgin Mary. In front of the main facade is a granite cross over a rectangular platform, and two orders of plinths, surmounted by Latin cross.
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Dodwell, 211–214 Bernard's outburst in a letter against the fantastical decorative motifs in Romanesque art is famous: The highly elaborate 14th-century tomb of Peter I of Portugal in Alcobaça Some Cistercian abbeys did contain later medieval wall paintings, two examples being found in Ireland: Archaeological evidence indicates the presence of murals in Tintern Abbey, and traces still survive in the presbytery of Abbeyknockmoy.Lalor, p 1, 716, 1050 The murals in Abbeyknockmoy depict Saint Sebastian, the Crucifixion, the Trinity and the three living and three dead, and the abbey also contains a fine example of a sculptured royal head on a capital in the nave, with carefully defined eyes, an elaborate crown and long curly hair.Doran, p 53 The east end of Corcomroe Abbey in County Clare is similarly distinguished by high-quality carvings, several of which "demonstrate precociously naturalistic renderings of plants".Lalor, p 236 By the Baroque period, decoration could be very elaborate, as at Alcobaça in Portugal, which has carved and gilded retables and walls of azulejo tiles.
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