There was a threat of collapse. The building was rebuilt. During the reconstruction one more side-altar was attached. On 12 December 1854 a new side-altar was consecrated in honor of the icon of the Most Holy Theotokos.
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The side altar has a painting of Saint Florian and Saint Gregory Thaumaturgus.
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The side altar dedicated to the Virgin Mary was taken from Kacenštajn Castle.
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The parish church of Waldburg has three magnificent late-gothic winged altars. The High Altar is sacred to Mary Magdalene. The right Side Altar is sacred to Saint Wolfgang and the left Side Altar is sacred to Saint Catherine. Museum Mini Agrimundus: Traditional miniatures from rural living.
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On a side altar is venerated an image of the Virgin of the Thirty-Three, patron saint of Uruguay.
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The northern side altar almost exactly echoed the original size, having a unique in Siberia "twin" shape. After a few years, the western facade of the initial church and the northern side altar were put together with an outbuilding of a two floors combination of parvise and narthex, built in a neorussian-like style.
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Now, this invaluable monument of Saint Thomas Christians of Malabar has been placed in a side altar of the main Church.
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Information sign on the church. It was not elevated to parish status until 1912. Oral tradition states that the church was once a pilgrimage destination. The main altar features a statue of Mary holding the infant Jesus; the left side altar is dedicated to Saint Nicholas, and the right side altar to the Adoration of the Magi.
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The ceiling is supported by six hammer beam trusses. The base of each truss is decorated with a quatrefoil circular infill. The Carrara marble high altar features a statue of St. Patrick in its central tower. The side altar on the left features a statue of the Blessed Virgin Mary and the side altar on the left a statue of St. Joseph.
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The side altar piece of the famous painter Kremser Schmidt and the high altarpiece, which was painted by one of his students are of note.
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The mosaics were designed by V. Frolov, while the wood carvings and gilding of the iconostas were made by P. Abosimov. The paintings of the central and the right-side altar spheres were made by F. Railyan and the frescoes of the left-side altar spheres were painted by M. Vasilyev. "Karosta Saint Nicholas Maritime Cathedral – ANNO 1903", TheCeļotājs. Retrieved on 27 August 2017.
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The elaborate side altar (1762) was completed by Bartolomeo Manni the Younger, with stucco work by the brothers Muzio and Eugenio Camuzio.Bassa Bergamasca Orientale, tourism site.
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The remains of José Luis Sánchez del Río are enshrined above a side altar in the Church of Saint James the Apostle in Sahuayo, his hometown.
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The main dome of the church. The main drum inside the church. View of the main iconostasis. On the left side altar is St. Jowa Poczajowskiego veiled.
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The main altar dates from 1716, and the wall paintings date from the end of the 17th century. A painting of Saint Anne on the north side altar is the work of Franc Jelovšek (1700–1764), the paintings on the south side altar are the work of Matija Koželj (1842–1917), and the Stations of the Cross are works from the school of Leopold Layer (1752–1828). The church is surrounded by a cemetery.
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The chancel arch has a large cartouche at center; a large silver lamp hangs in front of it. The left side altar has an image of Christ Crucified above, and the right side altar images of equal size. The church has a rich collection of 19th century images, including statues of Saint Amaro, Saint Rita, Saint Gonsalo, Our Lady of Victory, Our Lady of Protection. The church additionally has two images of Christ Crucified.
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The wings of the triptych show St. Stanislaus and St. Elizabeth; on their reverse are the figures of Christ and the Mother of Sorrows. The predella illustrates The Last Supper. The painting of St. Hedwig (dated 1620-1630) in the north side-altar comes from the Mikołaj Szyszkowski foundation. The south side-altar created in the Rococo style is from the second half of the 18th century and portrays Mary, the Mother of Sorrows.
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A side altar in Juli Cathedral The Territorial Prelature of Juli () is a Roman Catholic territorial prelature in the city of Juli in the Ecclesiastical province of Arequipa in Peru.
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Many forms of devotional expression take place. There has long been an established practice of dedicating the main side altar in Catholic churches, often called a Lady Chapels, to Mary.
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It is signed and dated on the throne Petrus Perusinus pinxit MCCCCLXXXXIIII (Peter of Perugia painted [this] 1494). It was taken to France by the occupying forces after the Treaty of Tolentino in 1797 and returned in 1815. However, it was not put back in its original position on a side altar on the north side of the nave but on another side altar on the south side of the nave. It was restored in 1999.
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The side altar has deities of Radha-Radhakanta and Radha-Srikanta, a large dancing Gouranga in the center, and ten brass sakhis at the bottom. The temple was constructed by Prasannakumara Karapharma.
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One of the side altars is dedicated to the Annunciation with the painting depicting the same dedication and attributed to Francesco Zahra. The other side altar is dedicated to Our Lay of Light.
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The painting is framed by marble statues of Saint Catherine of Siena and Saint Barbara, with a gilded statue of Saint Apollonia. The south side altar is dominated by a late Gothic crucifix of high quality, dating to the early sixteenth century. The Baroque statues depicting Mary and John are attributed to Stefan Folger. Pulpit sounding board by Nikolaus Moll The north transept side altar contains a painting of the Assumption of Mary by Grasmair, with statues of Saint Joseph and Saint Joachim.
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Statuettes filled round niches, including figures of Barbara and Ignatius, John Nepomuk and Katharina (from Josef Anton). In 1884 the left side altar added a guardian angel painting, while the right side altar painting was of St. Joseph with Jesus on both sides with putti (widower Werkstätte). The mid-19th century pulpit showed a Jesus and Mary monogram, symbols of divine virtues, Holy Eucharist and law panels with sword and palm. The cross above the sacristy entrance is from Balthasar Jais from Imst (1740).
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With that said, Tekutyev's prohibition was not overturned. K. P. Chakin changed the project, and from 1914 to 1916 the northern side altar was built with the mercenary's means. In the side altar altar stones were placed; on the first floor in honor of the namesake saints of the Tekutyev couple – Andrew of Crete and the venerable martyr Eudokia of Heliopolis, on the second floor in honor of John of Tobolsk and Sergius of Radonezh. Tekutyev and his wife were buried in the burial vault.
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Below, to the right, there are smaller statues of St. Luis Gonzaga and of Our Lady. The main altar also houses the Tabernacle where the Blessed Sacrament is preserved. On the side altars: the right side altar bears the statue of the Crucified Jesus, below which are smaller statures of St. Anne and St. Anthony. The left side altar bears the statue of Our Lady of Health, whose feast is very popular, and below which are smaller statues of St. Joseph and St. Sebastian.
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On the left side-altar is depicted Our Lady of Good Counsel, and on the right, St. Francis de Sales, painted by Peter Anton Lorenzoni. A new organ (built by Orgelbau Felsberg) was dedicated in 2003.
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The original high altar was moved to the side altar of the Blessed Virgin Mary on the west side of the sanctuary and a similar side altar dedicated to St. Joseph erected on the east side. Stained glass windows began to be installed. A trefoil stained glass window was created above the main altar depicting St. Michael, St. Basil and St. Charles Borromeo, the latter being the patron saint of Fr. Charles Vincent, who at the time was both the Rector of St. Michael's College and the Pastor of St. Basil's.
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The original church was a Gothic building, which was probably built between 1475 and 1520, as the tower position reveals. This originally Gothic building (from which remains of the foundation were used) was strongly changed from 1709, in the style of the late Baroque. The interior of the church has a barrel vault with a cap, the frames and crossbands are stuccoed, as well as the ceiling fresco framing in the choir. The late baroque high altar and the left side altar date from around 1710, the right rococo side altar was built in 1765.
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Above the portals are placed busts of St. Francis Xavier and St. Francis Borgia and statues of St. Aloysius Gonzaga and St. Stanislaus Kostka. Detail of the communion rails by Hendrik Frans Verbrugghen The northern side altar is by Pieter Verbrugghen I (1657) with two Baroque portals and various statues of saints dating from the 17th century. The southern side altar is also by Pieter Verbrugghen I (1669) and has oak doors and statues of St. Peter, St. Paul and St. Rochus. The white marble communion rails were made by Hendrik Frans Verbrugghen in 1695.
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The beautiful high altar sits under a gorgeous stained glass window depicting the Crucifixion. The side altar on the Epistle side is dedicated to the Sacred heart of Jesus. The other side is dedicated to the Blessed Virgin Mary.
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The main altar is from the 19th century. The north side altar dates from the second half of the 18th century and features a painting by Janez Valentin Metzinger (1699–1759). The south chapel contains an 18th-century altar.
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The side altar, dedicated to Gregory the Illuminator, was designed by Theophil Hansen, a Danish-born neoclassical architect known for the Austrian Parliament Building. The church was renovated in 1901 and restored in 1958. The church was last renovated in 2011.
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350px St Margaret of Antioch with Two Saints is a 1530 oil on panel painting by Moretto da Brescia on display on the side-altar of St Jerome in the church of San Francesco in Brescia. To the left of Margaret of Antioch is shown Saint Jerome, whilst to the right is Francis of Assisi. It originally stood on the side altar dedicated to St Margaret in the same churchPier Virgilio Begni Redona, p. 246, where it was recorded in 1630 by Bernardino Faino, who called it a "beautiful and delicate thing"Bernardino Faino, pag. 90.
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Main Baroque altar was made in 1698. There is a copy of painting from P.P. Rubens from 1636. On the tabernacle there is a Gothic “Franciscan Madonna” dated around 1420. On the side altar there is a relief of St. Anne from 1525.
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The church has a Latin cross plan with three aisles divided by pillars that support arches. In a niche by the high altar is a statue of Saint Camillus by Alberto Galli, made in 1911. There is a side altar dedicated to the Blessed Virgin.
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There it rested until November 12, 1813 when it was transferred once more. Today, the remains of Fray Luis Jayme lie in a common vault between the main and side altar. He is considered to be the first Catholic martyr in Alta California.Leffingwell, pp.
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The tabernacle was moved from the high altar to a side altar. Another redecorating project occurred around 2000 by the Rev. Kenneth Kunz, which included moving the baptismal font near the front door and new carpeting. The parish council was initiated by Father Morrissey in 1969.
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The construction date of the first wooden church building is the end of the 17th century. The second wooden church was laid in 1786. The construction of the stone building began in 1796. In 1810 the side-altar was consecrated in honor of the St. Paraskeva.
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The altarpiece depicts the Conversion of Saint Paul the work of Rokku Buhagiar. It replaced an earlier one by Francesco Zahra. There is one high altar and two side altars. One of the side altar includes a painting of the martyrdom of Saint Barbara, the work of Francesco Zahra.
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Saint Peter's Church The local church is dedicated to Saint Peter and belongs to the Parish of Šmartno. It dates to the 17th century with an 18th-century extension. The high altar dates to 1904 with the original 17th-century main altar now used as a side altar.
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Wooden side altar of the Annunciation of the Blessed Virgin Mary, 17th century. The temple is three-nave two-towered basilica without apse with a transept. The main facade with two towers on the sides decorated with rich plastics: pilasters, engaged columns. The interior covered with barrel vaults.
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The same storm destroyed many of the stained glass windows and a di Pietro memorial. Additions following Vatican II include the main altar facing the people and the tabernacle moved to a side altar, formerly Marian. The picture of Our Lady of Guadalupe now occupies the other side altar formerly dedicated to Saint Joseph. Also added in the 1970s were a baptismal font and two figured mahogany lecterns. Two of the four corner confessionals in Gothic style remain; the other two were ruined by termites and replaced with an Esquipula shrine and a replica of Michelangelo’s Pieta. The bishop’s throne and the communion rail were removed as part of the Vatican II reforms.
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A painting of Mary Immaculate by Štefan Šubic hangs on the north side. The south side altar is dedicated to Saints Cosmas and Damian. A column shrine stands in the center of the village. It has an octagonal base surmounted by a cube with rectangular niches on all four sides.
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The altar of Virgin Mary from Karlov is on the south side and altar of the birth of Christ on the north side. Altar on the south side was brought from Karlov. It comes from the end of the first half of the 18th century. It is the board-type altar.
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Saint Anthony's Church The local church in Glinica is a chapel of ease dedicated to Saint Anthony. It was mentioned in written sources as early as 1526. The side altar and pulpit date from circa 1860. The Stations of the Cross in the church are 19th-century paintings on glass.
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The chancel was rebuilt and painted in 1668. The walls are decorated with remnants of images of the twelve apostles, and winged symbols representing the four evangelists decorate the vault.Cultural heritage sign at the church. A side altar dedicated to Saint Wolfgang dates from the end of the 17th century.
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The sacristy houses a precious 8th-century mosaic fragment brought here from the Old St. Peter's Basilica. Of the 18th-century restoration, the Crucifix Chapel and the Baptistry can be seen today. In a side altar on the left of the church is kept the flower-crowned skull attributed to St Valentine.
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The main altar painting is Die Salbung Jesu durch Maria in Bethanien by local painter . Side altar paintings were by Giambattista Pittoni (Kreuzaufnahme, Armenspeisung durch die heilige Elisabeth). The crypt below the church is the burial site of the order's grand masters. For around 200 years the Schlosskirche has been a Protestant church.
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His memorial plaque was on the right hand of the side altar. The Sacred Heart Church, Port Lambton, was built in 1877. Martin Regan was the first person baptised there, in December 1877. In the 1960s the church was demolished, replaced by a new church built on the same site in 1964.
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After cordial greetings, the Cardinal is quoted as commenting on how beautiful the church was and how it reminded him of the churches in Poland. He knelt in prayer before the Blessed Sacrament and then to the Side Altar of the Blessed Virgin Mary, now the location of a humble memorial to the Pope.
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The church's altarpiece is a 19th-century painting entitled Martyrdom of St Sebastian by Lazzaro Pisani. A painting of Christ the Redeemer, also by Pisani, is located in a side altar. The church also includes sculptures of Christ Resurrected (1981) by Gerolamo Dingli and Jesus falling under the Cross (1985) by Alfred Camilleri Cauchi.
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The temple has undergone repairs after fire in 1711 and 1788, when the southern Baroque-classical portal with carved gate and original fittings was built. In the first half of the 18th century side altar of the church of St. Anthony of Padua has been added and later Resurrection altar and altar of St. Cross.
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It was renovated in the 16th Century and, later, the church tower was rebuilt in 1574-75. The new church had two naves and a rectangular choir. The facade retains some of the elements of the earlier church. Inside, there is a side altar from a German workshop that was built between 1510-20.
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Fluted ionic columns and corinthian columns designed the first story and the second and third stories respectively. On top of the altars are statues of angels holding shields. One of the side altar is dedicated to women saints, saints in the New Testaments and martyrs. The other one was dedicated to the Jesuit saints.
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Only the skull was rescued. It is now preserved in a reliquary on the right-side altar of the church. A major fire in 1723 destroyed the church and convent, and only the Gothic chancel remains extant today from the original buildings. The abbey received its present shape in reconstruction over the following years.
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At the spot Saint Emmeram died in the year 652, a small chapel was erected in the year 1842. The church of St. Lorenz in Oberföhring has a side altar dedicated to St. Emmeram. In the church of Saints Peter and Paul in Aschheim, a plaque memorializes the first grave of Emmeram with an inscription.
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Located to the left of the main altar is the side altar of the Sacred Heart. It was previously used as the high altar of the original cathedral at Wellington Street. It now houses the Blessed Sacrament—serving as the cathedral's main tabernacle after the removal of the high altar in 1969—and is reserved for Eucharistic adoration.
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Shortly after the canonisation of the 120 Chinese Martyrs on 1 October 2000, the relics of sixteen of them were placed at the Chinese Martyrs' Chapel (formerly the Chapel of Our Lord's Passion). They are stored in a relic box—designed locally by Sister Paola Yue—that is situated at the foot of the side altar.
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The perpetual chantry was the most prestigious and expensive option for the wealthy burgess or nobleman. A lesser option was the endowment of a fixed-term chantry, to fund masses sung by one or two priests at a side altar. Terms ranging from one to ten years were more common than the perpetual variety of chantry.
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The baroque high altar of the church is of art historical significance. It was originally a side altar of Essen Abbey and features four altar tables made by Barthel Bruyn the Elder between 1522 and 1525 for the high altar of Essen Abbey. The paintings are masterpieces of the highest quality. They depict the life of Jesus.
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The main altar in the interior was adorned with oil painting by Franciszek Smuglewicz depicting Crucifixion of Jesus. Fragment of statue of dead Christ by Roman or Florentine sculptor in left side altar. In 1886–95 the church was rebuilt in Neo- Renaissance style, resulting in a much larger building with two prominent towers and a large peaked dome.
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The triumphal cross featuring the crucified Jesus is from c. 1240 and is attributed to the anonymous Tingstädemästaren. In the choir, some tombstones from the 13th and 14th centuries are visible, and the pulpit, itself dating from 1673, has been placed on a medieval side altar. The pews and the organ cover are from the 19th century.
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Labouré spent the next forty years caring for the aged and infirm. For this, she is called the patroness of seniors. She died on December 31, 1876, at the age of seventy. Her body is encased in glass beneath the side altar in the Chapel of Our Lady of the Miraculous Medal at 140 Rue du Bac, Paris.
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The village church was dedicated to Saints Phillip and James and dated from 1677. It was a picturesque building with a bell-gable and a large portico. The main altar was created by Franz Götzl in 1841, and the side altar, dedicated to Saint Andrew, dated to 1862. Next to it there was a chapel dedicated to Saint Notburga.
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The arched volutes on the top of the prothesis are part of the original, Baroque structure. Two Corinthian columns hold the top structure of the prothesis, and they frame the painting of the side altar. The Descent from the Cross was painted by György Révész, approximately in 1870. He copied the composition of Rembrandt's 1634 master piece.
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The Patron of the church, St. Casimir, has his facsimile painted at the side altar (first on the left). This image was most probably painted in 1660-1670 and is assumed to be the work of the Gdańsk painter Daniel Schultz. Paintings on the vault of the church date from 1904 and are the work of .
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Other metalwork includes the original Communion rail, moved after Vatican Council II to a side altar. The stained glass windows were executed in Dublin, Ireland, by the artists of An Tur Gloine. All except one in the choir loft had been ordered by 1934; a local artist was commissioned to create this remaining window in 1985.
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380px Saint Barbara with a Donor or Saint Barbara with a Devotee is a 1558 oil on canvas painting by Lattanzio Gambara, originally painted for an altar dedicated to saint Barbara in the church of Santi Nazaro e Celso in Brescia but now on the right-hand side-altar in Santa Maria in Silva church in the same city.
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Two side chapels were built in 1858 following plans by Anton Leben from Polhov Gradec. The church's frescoes depicting Saint Margaret and various saints were painted in 1877 by Janez Šubic, who also created the altar painting of Saint Margaret in 1876. The church's main altar and side altar were made by the Toman workshop of Ljubljana.
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The new church had two naves and a rectangular choir. The facade retains some of the elements of the earlier church. Inside, there is a side altar from a German workshop that was built between 1510-20. The walls also feature a mural from 1558 by Gerolamo Gorla da Milano and paintings from the 17th Century.
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Menshikov tower was Moscow's first building richly adorned with figurative sculpture, but most of it was lost in the 18th century. In 1710 Menshikov was appointed governor of Saint Petersburg and abandoned his Moscow projects, taking most of the craftsmen with him. Work on the tower interiors slowed down; Menshikov's private box inside the church was rebuilt in an ordinary side altar.
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The titular painting on top of the high altar depicts the Immaculate Conception with Saint Paul, Saint Lucy, Saint Vincent Ferrer and Saint Clare. Beneath the high altar one can find the corpse of St Lucian the Martyr brought from the cemetery of Priscilla in Rome. The side altar are dedicated to St Francis of Paola and St Paschal Baylon.
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The side altar on the right has a statue of the Blessed Virgin Mary, and the one the left a statue of the Sacred Heart of Jesus. On the apse ceiling are paintings of nine saints added during the 1954 renovation. They cover what had been windows. The columns that frame the arches are adorned with capitals in the Corinthian order.
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The altar contains a sculptural group of the Trinity group with two adoring angels. The reliquary of St. Ernestus was designed in 1959 by Otto Prossinger. The two side altars contain magnificent life-size angels, which were designed by Fischer von Erlach and Michael Bernhard Mandl from 1700–02. The Marie miraculous image of the right side altar dates from the sixteenth century.
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In the end, the church was rebuilt between 1949 and 1952 in a form similar to its original simpler design. The 17th-century white marble statue of dead Christ by Roman or Florentine sculptor in left side altar was acquired in Rome by Stanisław Herakliusz Lubomirski between 1674 and 1694, and transferred to the St. Alexander's Church in 1826 from other location.
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Kirchheim has a rich cultural heritage. Most famous is the large fugger castle, built after the model of the Spanish El Escorial near Madrid with the attached castle and parish church St. Peter and Paul. In it the prominent painting Assumption of Mary of Peter Paul Rubens is located on the southern side altar. Other paintings are of Domenichino und Padovini.
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It is a copy of the painting from the first half of the 18th century. The second mentioned side altar of Birth of Christ from 1730-40 is apparently original. The same pattern repeats same as the pattern used at the altar on the southern side. In the centre there is title painting surrounded by two statues of St. Andrew and st. Nicholas.
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Studniční chapel (the Well Chapel) was part of a cloister and the debris of garden of Eden show the period of prosperity and decay of this place. The statue of the Well Virgin Mary is very important for the monastery. It is to be seen on the side altar in southern aisle. This early Gothic masterpiece was brought by monks of Pomuk.
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The chapel in the right transept, dedicated to St. Aloysius Gonzaga, has a large marble high- relief depicting St. Aloysius Gonzaga in GlorySt. Aloyzius Gonzaga in Glory (1697–99) by the French sculptor Pierre Le Gros. Andrea Pozzo painted the ceiling which also shows the Glory of the Saint. Buried in the side altar next to Gonzaga is Cardinal St. Robert Bellarmine.
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On the same day the Blessed Sacrament was enclosed in a great statue of Christ on a side altar and candles were burned before it till Easter Day. The Holy Saturday service in the Durham Missal is given on pp. 185–187 of the Surtees Society edition. The monks sang the "Miserere" while they went in procession to the new fire.
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Ceiling paintings and an altar show the importance of this saint to the monastery. The painted cast stone Pieta on a side altar dates from 1430, and was formerly the main altar of the church. The monastery was home to scholars who valued old alphabets. A late 16th century book from the monastery has a marginal gloss in perfectly correct runic writing.
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By the main road near the center is the Roman Catholic Church. It is a single-nave hall with a sacristy on the right side of the church. In the church there is a side altar made from an oak, under which Ján Hollý composed his poems. Next to the church, there was once a cemetery, but it was moved to a new place.
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Novo Mesto Cathedral, standing on Kapitelj Hill above the town, is dedicated to Saint Nicholas and is an originally Gothic building that was rebuilt in the Baroque style in the 17th century. The main altar oil painting by Tintoretto, and the side altar paintings by the French 18th century painter Valentin Metzinger, the leading Baroque painter in Slovenia, are on display in the church.
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In Rome he studied the works of the great masters.Luigi Gentile in: Giovanni Battista Passeri, Vite de pittori, scultori ed architetti che anno lavorato in Roma, Roma, 1772, blz. 249-253] The first work in Rome that brought him some fame was a fresco on the side altar of the Santi Domenico e Sisto church in Rome. It depicts a miracle attributed to Dominic Guzman.
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Where the church door now stands there was likely a simple decorative piece facing the nearby town of Faieto. At a place of worship on the side altar hangs a painting representing the Sacred Family. The date and author of this piece are unknown. In 1930 additional renovations were carried out inside the church and in 1937 frescoes on the ceiling were restored to their original beauty.
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Saint Munditia (Mundita) is venerated as a Christian martyr. Her relics are found in a side altar at St. Peter's Church (known as "Old Peter," Alter Peter) in Munich. They consist of a gilt-covered and gem-studded skeleton, located in a glass case, with false eyes in her skull, which is wrapped in netting. Jewels cover the mouth of the relic's rotten teeth.
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2 April 2017 Patriarch Kirill of Moscow and all Rus' consecrated the church by the great rite. The main altar of the church is consecrated in honour of Saint Righteous John the Russian, the Confessor of Faith. Also there is a side-altar which is consecrated in honour of the Annunciation. The church keeps an icon of Righteous John the Russian with a piece of his relics.
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Historical Sketches of St. Columban's Congregation and the Missions Attended by the Franciscan Fathers. (Chillicothe, Missouri, 1905). left In 1910, a German- crafted Christmas crib set with near life-size figures was purchased, and after a century is still in use. In 1914 Thomas Bush painted a mural above each outer side altar: Jesus Healing and Jesus at the home of Martha and Mary.
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The church is built in the form of a basilica, with a four side altar. The cupola over the choir is sky blue, studded with gold stars. The church's rear wall is built into a section of Galata's old Genoese ramparts. The church possesses several relics: those of Saint Renatus (found in the catacombs of Galata), and others of Saint Thomas, Saint Dominic and the Saints Peter and Paul.
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There are no specific ideas of people or demons, but a symbolism of waves was kept. Individual persons are turning up at the right part of the altar - already as praying and adoring God, with crosses in the hand. A side altar of the Merciful Jesus kept the similar style of mosaic. The left, side nave is filled up with four stained glass referring to evangelical acts of the mercy.
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Also in the fifteenth century, Hagenprekers of the Netherlands came to preach Protestantism in Hasselt, then follows a period of iconoclasm. Maaseik Hasselt temporarily declared the separation of the Church. During that time he destroyed the tabernacle, statues, the side altar and the main altar, under the command of Gerard van Groesbeek. The tower of the present church dates from 1725; It was restored in the nineteenth century.
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They are entombed in a marble monument at a side altar dedicated to Our Lady of Perpetual Help. The Archdiocese of New York fought a three-year court battle to keep his remains there. As a child, Sheen served as an altar boy in St. Mary's Cathedral and he was ordained a priest here in 1919 for the Diocese of Peoria, which has sponsored his cause for canonization.
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The most important side altar is called the altar of mercy, Mary with bowed head. The altar was made in 1904 by the Marmorindustrie Kiefer AG company from Oberalm using Untersberg marble in accordance with a design by Richard Jordan. The depiction of Mary is to be found on a niche altar reminiscent of Romanesque designs. It is flanked by two angels shown in relief and bears the inscription Ave Maria, gratia plena.
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380px St Anthony of Padua with Two Saints is a c.1530 oil on canvas painting by Moretto da Brescia, now in the Pinacoteca Tosio Martinengo in Brescia. The other two saints shown are Antony the Great and Nicholas of Tolentino. It originated on a side altar in the city's church of Santa Maria delle Grazie and dates to Moretto's early mature period, showing marked similarities with his St Margaret of Antioch with Two Saints.
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The church is built in an accomplished Brick Gothic style. It contains some fine furnishings including a Baroque high altar, a large side-altar from the 15th century made in northern Germany, two medieval wooden sculptures of Mary and St. John, fragments of murals and an iron chandelier from the 14th century. There are also two large medieval crucifixes on one of which the sculpture of Jesus is adorned with real hair.
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When he returned to Pastrana, he revealed those influences in a "Trinity", painted for the side altar at the . In March of 1611, he moved to Toledo and, the following year, painted an "Altarpiece of the Four Days of Easter" for the Dominicans, which is now at the Museo del Prado. It is, perhaps, his best known work. Also notable are canvases depicting the "Adoration of the Magi" and the "Adoration of the Shepherds".
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Other features include a reliquary of the Madonna and Child, situated near the side altar. Dating from the 16th century, it is tall, carved from walnut, painted and gilded. The Virgin Mary is sitting, holding the infant Jesus on her knee. This forms the middle of a triptych composed of three hollow parts, each subdivided into boxes with wooden columns and statuettes representing Paradise, Hell, Purgatory and scenes from the Old and New Testaments.
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The design, with a facade with rusticated pilasters and roof-top obelisks, is attributed to Bartolommeo Ammannati or his followers. The church has an elaborate main altar with polychrome marble, and painted architecture. The main altarpiece is the Trinity with Saints John the Baptist, Paolino, Sebastian, Antony, and Catherine by Pietro Paolini. A side altar has a sculpted marble Lactating Madonna (also called Madonna della Tosse or della Latte) by Matteo Civitali.
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The committee chose a baldachin leg ending in animal claws, based on the analogy studies on Jankovits' other works. The new foundation and the old canopy was connected by long iron spines in the middle.Károlyi 2005 The side altar, also known as prothesis, is traditionally situated on the northern part of the sanctuary in the Byzantine rite churches. Priests prepare the bread and the wine on this smaller altar table for the holy liturgy.
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A bell tower is built against the west side of the church and there is a chapel on the north side. The arches in the nave and chancel are relatively recent, probably created when the chapel was added. The furnishings in the church are Baroque. The main altar dates from 1781, and the side altar, which is dedicated to Saint Agnes, is from the 16th century, although some of its sculptures are more recent.
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The church was adorned with items donated by members of the order of the Franciscan Fathers mentioned above. The date 1519 is inscribed on one portal arch of the church but it is not known if this piece was taken from a previously standing structure. The originally constructed church had but one side altar but an 1880 expansion added a new presbytery. The original entrance was at the front of the church.
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It was completely supernatural because resembling like lead in a pencil, any part of the log if cut it has the same image even to the trunks and branches. Two chops of wood is now enshrined at the Aglipayan church of Santa Cruz in Laguna, one in the side altar and another in an adjacent chapel dedicated for her. A small chapel is placed on the site where the image was discovered.
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Pope Gregory XVI presented Bishop Mathias Loras with the remains of St. Cessianus in 1838. Bishop Loras brought the remains with him to the United States. The remains were placed within a side altar in the new St. Raphael's Cathedral, in Dubuque, Iowa. After renovations carried out in the mid-1980s at St. Raphael's Cathedral were completed, it was decided to place the remains of St. Cessianus in the new main altar.
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The Annunciation with St. Margaret and St. Ansanus is a painting by the Italian Gothic artists Simone Martini and Lippo Memmi, now housed in the Uffizi Gallery in Florence, Italy. It is a wooden triptych painted in tempera and gold, with a central panel having double size. Considered Martini's masterwork and one of the most outstanding works of Gothic painting, the work was originally painted for a side altar in the Siena Cathedral.
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Madonna Enthroned between St. Catherine and St. Elizabeth of Hungary () is an icon, a central part of the side altar of the Church of the Nativity of the Virgin Mary in Jánovciach. The author of the original triptych, Master Martin, signed his name on the back of the icon, from 1497.Vaculík K Desková malba. The signature on the back of the board reads: Martin(us) 1497 Pictor in Vigilia Nativity (is).
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The middle panel of the altar triptych from the Church of the Nativity of the Virgin Mary in Jánovciach the late 17th century was replaced by a new altar. Furthermore, it served as a side altar in the same church. In 1934, it was purchased by the Slovak homeland museum in Bratislava. In 1957, it was transferred to the collections of the Slovak National Gallery, taking over from the painter Peter Kern from Liptovsky Mikulas.
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The first structure at the site was a chapel built in the rural Gothic style, and the church was first mentioned in written sources in 1663. The church has three Baroque altars. The main altar is dedicated to Saint Mary Magdalene, and a painting of the saint by an unknown artist, dating from the mid-17th century, hangs on the right side of the nave. The north side altar is dedicated to Saint John of Nepomuk and Saint Apollonia.
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Eventually, the image was enshrined on a side altar in Pial. It was not long when people felt special manifestations of divine favors through the image. Their love and devotion to the Virgin had grown with the years, and attachment to her image bordered fantacism. This was clearly seen when Fr Juan de Santa Ana sent the same image to Tuguegarao City in 1622 and ordered another one more beautiful from Manila to replace the image.
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The father of Portuguese drama Gil Vicente is buried at the left side of the entrance. Side altar with Flemish paintings The chancel (early 16th century) with the main altar (from a later date) displays Renaissance features. But the choir stalls were made in different art styles : the right one in Renaissance, the left in Baroque style. The altars in the transept are decorated with gilded sculpturework (talha dourada) framing 16th century panels, probably painted by Flemish artists.
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The sacristy is usually located inside the church, but in some cases it is an annex or separate building (as in some monasteries). In most older churches, a sacristy is near a side altar, or more usually behind or on a side of the main altar. In newer churches the sacristy is often in another location, such as near the entrances to the church. Some churches have more than one sacristy, each of which will have a specific function.
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The side altar was dedicated to the Assumption in 1772, but the entire Neoclassical edifice was only completed to Ivan Starov's designs in 1789 and dedicated to St. Vladimir. In the Soviet period, the cathedral was closed in 1928. From 1938-1941, it served as the metropolitan cathedral of the city. From 1941-2001, the Icon of Our Lady of Kazan was located into the cathedral before its transfer to the Kazan Cathedral on Nevsky Prospekt.
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The oval middle-picture depicts the painful mother holding on her lap the dead body of Christ, so called Pieta and the reliefs portray Saint Peter and Mary Magdalene. The second side altar commemorates St. Gotthard (960–1038), patron saint of the church, who was a contemporary of St. Stephen (Szent István, 997–1038), first king of Hungary. St. Gotthard was enthroned as Bishop of Hildesheim as a pious Benedictine monk. His reverence spread soon in the Christian West.
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Kerdić's work included items of applied art, portraits and figurative compositions. Examples of his sculptures can be seen in the main and side altar of the church of St Blaze in Zagreb, the altar of St Nicolas Tavelica in the church of St Cyril and Methodius in Jerusalem. In the Zagreb area, on the Miramarska road is a crucifix by Kerdic. Although he used all kinds of different media in his sculpture, Kerdić is best known for his metalwork.
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The bells are also rung when the monstrance or ciborium is exposed or processed, for example when moving the reserved Sacrament from a side altar to the high altar. Custom differs concerning its use at Low Mass, or during Lent and Holy Week. In some churches, particularly in the Anglo-Catholic tradition, a large (and sometimes decorated) gong, struck with a mallet, may be used during the celebration of mass as an alternative to the altar bell.
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There is a barrel vaulting with a segment arch in the sacristy, and in the former sacristy a barrel vaulting is enriched by lunettes. In the nave and the presbytery there is a nineteenth-century marble flooring with a two-colour theme. Pictures of Crucifixion (the main altar) and Virgin Mary (the side altar) are from the 18th and 19th century. Late Baroque façade of the 18th century has three axes and has been divided by Ionian pilasters.
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A new side altar was added in 2004, dedicated to Emperor Karl I of Austria (1887–1922) who is on the path to being recognized as a saint by the Roman Catholic Church. The pulpit was designed by Hofarchitekt Johann Ferdinand Hetzendorf von Hohenberg in 1784/85 when the church was returned to its original Gothic style.Felix Czeike: Wien. Kunst, Kultur und Geschichte der Donaumetropole, DuMont Reiseverlag, 1999, It is an early example of Gothic Revivalism in Central Europe.
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Based on the church information board. The western porch of the church was built in the 19th century and the side altar, is of late Renaissance period around 1630, originally in the Franciscan church from Dobrzyń on the Vistula. The lintel at the sacristy has a foundation inscription "IR MK PP", probably referring to Mateusz Krzemiński, and 1740. On the rood beam there is a late-Gothic sculpture of Crucified Christ from the first half of the 16th century.
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The Altar of the Passion of Christ from the 14th century with parts of a further side altar, is only partially preserved. The Corpus Christi Altar with The Last Supper (1330 - see picture) shows one of the oldest tablet paintings in Mecklenburg. It is thought to have stood in the gate chapel at the western gate of the abbey, and is associated with the Doberan holy blood relics. The tablet is attributed to the second quarter of the 14th century.
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St. Cantianus's Church in Britof The local church stands in the hamlet of Britof and is dedicated to Saint Cantianus. It belongs to the Parish of Marijino Celje in the Diocese of Koper.Roman Catholic Diocese of Koper List of Churches May 2008 It is a Gothic church with a bell gable, built in 1505. The interior houses a Gothic side altar (a replica, the original is kept in the National Gallery of Slovenia), a gilded Baroque altar, and Gothic frescoes.
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This was added in the middle of the 14th century and retains all of its original Decorated Gothic windows. The four-bay arcade between the south aisle and the nave is Perpendicular Gothic and therefore somewhat later. Also in the south aisle is a squint to the high altar in the chancel, and a 14th- or 15th- century piscina, both of which were installed when the aisle had a side altar. The squint was blocked after the Reformation but reopened in 1885.
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Aging George Stransom holds sacred the memory of the great love of his life, Mary Antrim, who died before they could be married. One day Stransom happens to read of the death of Acton Hague, a former friend who had done him a terrible harm. Stransom starts to dwell on the many friends and acquaintances he is now losing to death. He begins to light candles at a side altar in a Catholic church, one for each of his Dead, except Hague.
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During World War II, the Bronze font was hidden somewhere in Mecklenburg by the church staff to prevent it from being melted down for war material. ;St. Roch Altar The late gothic St. Roch altar is a side altar, of which there were once 39 in this church. Manufactured from oak wood in 1530, the master carver was likely part of the circle around carver Benedict Dreyer of Lübeck. In the centre of the shrine is the patron Saint Roch.
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The church of St. Peter the Apostle is site of worship of patron of the community. The old building underwent major expansions, retaining walls, wood and an interesting main gate. There are some sacred images carved with faces solemn and thoughtful, they remain as a testimony of faith of the first settlers. In view is the Virgen del Rosario and, in a side altar, is located a set of Christ Crucified with San Juan and the Virgin of Seven Sorrows.
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Many of St. Stanislaus' former parishioners now attend St. Hedwig Church in Wilmington, located on the corner of Linden and South Harrison Streets. A special remembrance Mass on November 24, 2013, was celebrated by Fr. Christopher Coffiey, who grew up in St. Stanislaus parish. A great number of the religious articles and objects in the church were distributed to various churches in the Diocese. The marble crucifix and marble side altar from St. Stanislaus Kostka went to St. Polycarp's in Smyrna.
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Eight panel paintings by Karel Ludvík Klusáček present scenes from the life of St. Procopius. The top of the altar is decorated with a group of the Crucifixion of Our Lord. A side altar has a statuette of Madonna with Jesus, possibly the original from the first half of the 15th century. It was saved during the Thirty Years' War in the house called At the Three Acorns in the New Town of Prague, where it was held until 1742.
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It had a colonial style and its main altar had enthroned the image of Our Lady of the Rosary, now housed by the Church of Our Lady of Carmo. The two niches of this altar had images of Saint Raphael and Saint Benedict. Both images are now in the Mother Church of Our Lady of the Rosary. The right side altar was dedicated to Saint Sebastian, whose image was taken to the Church of Bonfim and stolen from there in 1978.
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The lamb symbolizes the good shepherd, which is the duty of the priests; and it refers to the revelation too, reminding the priests to the importance of the strong faith.Sz. Kürti (1989) p. 4-5 The side altar with Révész' Rembrandt replica, the Descent from the Cross The central element of the sanctuary is the altar table with its carved baldachin.The article here followed the terms of the Catholic Encyclopedia, where only the cup shaped, robust altar covers are called ciborium.
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The church was completed in 1640 thanks to a donation from Zuzanna Amendówna, bequeathed around 1644 along with the miracle painting of Madonna displayed today at the side altar of the new church. The first church of the Order was destroyed during the Swedish Deluge. In 1658 monks settled at the Reformacka street in a small manor given to them by Stanisław Warszycki, the castellan of Kraków. In 1666 suffragan bishop Mikołaj Oborski laid the foundation stone for the current church.
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The great majority of Roman Catholic churches had (and have) a side-altar or "Lady chapel" dedicated to Mary. The subject is still often enacted in rituals or popular pageants called May crownings, although the crowning is performed by human figures. The belief in Mary as Queen of Heaven obtained the papal sanction of Pope Pius XII in his encyclical Ad Caeli Reginam (English: Queenship of Mary in Heaven) of October 11, 1954. It is also the fifth Glorious Mystery of the Rosary.
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In the 16th century it is likely that the church was granted full parochial rights to the veneration of Saint Valerius. It is from this time, too, that the figure of the holy bishop Valerius on the side altar to the right comes. Today's church building was built to plans by Electoral-Trier master builder Wirth in 1789. Trier's lordship ended only a few years later with the occupation of the lands on the Rhine’s left bank by French Revolutionary troops in 1794.
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The stucco and frescoes were created by Johann Baptist Zimmermann in 1743, the altars were constructed by Johann Baptist Straub. The gilded figures on either side of the tabernacle are a contribution of Ignaz Günther. The painting of the high altar celebrating the archangel (by the Munich baroque painter Johann Andreas Wolff) and the statue of St. Roch (Andreas Faistenberger, 1690)) were created already before the construction of the church. The altarpiece of the side altar St. Norbert was painted by Ignaz Joseph Schilling (1744/1746).
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These 150 archers formed, with 60 crossbowmen, the specialized troops of the small municipal army. With the advent of firearms at the end of the 16th century, 60 arquebusiers and 80 couleuvriniers were added to their ranks. The Oaths were religious associations placed under the patronage of Saint Sebastian for the Grand Oath and Saint Christine for the Petit Oath, both killed by being riddled with arrows. The "Grand Oath" celebrated a solemn mass on the day of its patron, , on the left side altar of the .
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The only new element commissioned was the baroque altar of St. Ahac, kept fairly modest due to circumstances. Records describe it as a humble wooden structure with statues of the two patron saints in niches, and an oil painting of the saints before lake Bled overhead. The side altar of the Virgin of the Rosary was the work of Ignacij Arer (1776, restored around 1867). The ceiling was decorated by an unknown artist in 1828, but required repairs by 1858, performed by painter Matevž Goričnik.
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At the top is the Virgin Mary as the Queen of Heaven with angels and at the bottom are patron saints invoked against plague epidemics: St. Roch, St. Sebastian, and St. Rosalia. The background of the image depicts the horror and destruction caused by the plague. The right side altar to the Virgin Mary is decorated with an image by J. Heřman. Located on the opposite side is the altar to St. Joseph, together with a statue of St. John the Baptist, which comes from Switzerland.
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In the 1960s, the ceilings and vaults were completed with painted murals. Above the entry to the ship, there is an organ chorus held by two cast-iron pillars and a forged rail. On the main altar there is a painting of Saint Lukas from 1873, and on the sides there are statues of Jesus's and Mary's hearts. The side altar of the Lurd Panna Maria and the pulpit with a baldachin and window, sill with relief decoration, all date from when the church was built.
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This archbishop was murdered by King Henry II's henchmen while praying at a side altar in the cathedral. The King himself made a penitent pilgrimage to the cathedral. Even though much of the stained glass has been lost over the years, there still remains two windows which show some of the many healings and miracles associated with St Thomas, both before and after his death. In churches that are monastic, there is often an emphasis on the saints that belonged to that particular order.
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Opposite in the left, a side altar dedicated to Saint Martín de Porres. Devotees of Our Lady of La Naval would offer her jewelry. In the church’s jewellery collection, the La Naval image has a brooch described as “studded with small diamonds, seed pearls and colored gems.” It is believed to have been offered to the Virgin by a certain Josefa Roxas Manio, a native of Calumpit, Bulacan, in the 19th century, after having received it as a courtship gift from Norodom I of Cambodia.
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The parish hired two painters, György Révész and Gyula Petrovics, and a gilder, Károly Müller to renovate and decorate the church interior. Révész painted the Last Supper for the main altar and the Descent from the Cross to the side altar. He was the master of the seccos that can be seen in the sanctuary, and probably with the help of Petrovics, he painted the three frescos of the ceiling: Assumption, Destroying the idols and In the age of Saint Stephen. Petrovics and Müller restored the iconostasis.
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300px Mystic Marriage of Saint Catherine is a c.1543 oil on canvas painting by Moretto da Brescia, on display on a side altar in the church of San Clemente in Brescia Adolfo Venturi, Storia dell'arte italiana, volume IX, La pittura del Cinquecento, Milano 1929, p.187-191. In the upper register are Catherine of Alexandria, the Madonna and Child and Catherine of Siena, whilst below are Paul and Jerome Pier Virgilio Begni Redona, Alessandro Bonvicino – Il Moretto da Brescia, Editrice La Scuola, Brescia 1988, p.386.
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The three statues behind the altar represent the Grieving Madonna flanked by the apostles James the Great and James the Less and were sculpted by Antonio Calcioni in 1702. Banner of "St. Roch and the Redeemer" There are several works of art over the side altars. The first side altar on the left is dedicated to St. Roche and was constructed in the period 1480-1485 to thank the saint for protecting the city during the plague that affected the city in 1476-81.
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The church was also damaged in the fire of , after which a decision was made to use stone as building material, but because of needs for the Northern War the plan was not completely realized. Academic Müller remarked that in 1741 the Church of the Image of "The Saviour Not Made by Hands" in Tyumen had a side altar of the Wondermaker Sergius of Radonezh, meaning the church was restored after the fire. S. P. Zavarikhin and B. A. Zhuchenko claim that the new stone church was built on the side of the wooden Church of the Saviour with the side altar of the Mother of God icon of Tikhvin; as the church was chopped off in 1753, it was moved in the first half of the 18th century to the present place. A. S. Ivanenko's claim that the icon of the Image of "The Saviour Not Made by Hands" was kept in the stone Church of the Saviour with which people went on annual crucessions up to the village of Kamenka since the 1650s, at any rate proofs the presence of both the wooden All-Merciful Church and the stone church.
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The west tower has two sets of bell-openings. The first set is early 13th-century and is now blocked; the second set is Decorated Gothic. Also Decorated Gothic are the north and south aisles added to the nave early in the 14th century, each with two- and three-light windows with reticulated tracery and a three-bay arcade with octagonal piers. Near the east end of the south aisle is a cusped and ogeed piscina for a side altar that would have been there before the Reformation.
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Typically, this kind of burse can be securely closed and is fixed with cords so that the priest, deacon, or extraordinary minister of Holy Communion can affix it to his or her person during transport to prevent the consecrated host(s) from being accidentally lost. These objects, and others, such as the lunette (and the monstrance that holds it) that contain a consecrated host, are normally kept within the church tabernacle when they are not being carried. The tabernacle may be behind the main altar, at a side altar, or within a special Eucharistic chapel.
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The left side altar was dedicated to Saint Benedict the Moor, whose image is now in the Mother Church of Our Lady of the Rosary. With the end of the Brazilian Gold Rush in the late 18th century, the local economy began to base itself in agriculture and the city became impoverished. Nevertheless, the Fraternity of Our Lady of the Rosary of Black Men strove to preserve the church for the next centuries. For over a century after its construction the church had only one tower, on the west side.
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But the influence of the Limburgian tradition on the atmosphere in the hermitage remains clearly noticeable through the various additions from popular devotions, such as praying the Rosary and various litanies, which are sung at various moments during the day, out loud. The chapel's decorations also betray a continuation of 17th century examples, through Baroque elements. The devotion to Saint Gerlach of Houthem, of whom there is a reliquary in the retable of the right side altar, has a special place in the hermitage. Saint Anthony Abbot is also especially honoured.
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Mühlwald is also referred with the alternate Italian name "Selva dei Molini". in 1836 he completed an altarpiece depicting a Santa Maria Assunta (1836) for the side altar of a parish church near Bruneck; a Crucifixion for the parish church of St Michael at Brixen; and a Glory of Saint Catherine for the main altar of the parish church of Graun im Vinschgau;Now in a reconstructed church. and a Transit of St Joseph (1839) for the church of San Luca Evangelista in Padua.of St Joseph is now in Diocesan Museum.
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The church has a single nave with lateral corridors and tribunes, a design typical of the early 18th century. The consistory and sacristy sit on either side of the chancel. Carvings on the altar, the cross arch, tribunes, choir screen, and pulpits were completed between 1769 and 1770 by Domingos da Costa Filgueira; they were replaced in 1814 by neoclassical design elements. The left side altar has an image of Saint Anthony of Padua; the altar on the right has an image of the Sacred Heart of Jesus.
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380px Mystic Marriage of Saint Catherine or Mystic Betrothal of Saint Catherine is a 1567-1570 oil on panel painting by Giovan Battista Moroni, produced for the side-altar of Catherine of Alexandria in the church of San Bartolomeo, parish church of Almenno San Bartolomeo, where it still hangs. It is signed at lower right IO:BAP.MORONUS.P. Simone Facchinetti, Giovan Battista Moroni: lo sguardo sulla realtà, 1560-1579, Cinisello Balsamo, Silvana Editoriale, 2004, p. 164. The church had been begun in 1520 through the will of Giorgio Rota, but work lapsed until restarting in 1562.
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Tomb of Saint Louise de Marillac The chapel, as a site of Marian apparition, is a Marian shrine and hence a site of Roman Catholic pilgrimage. The body of Saint Louise de Marillac and the heart of St Vincent de Paul, founders of the Daughters of Charity of St Vincent de Paul, are kept there. The incorrupt body of St Catherine Labouré, a member of the Daughters of Charity of Saint Vincent de Paul and a Marian visionary, also lies in a glass coffin at the side altar of the Chapel.Callbeck, Cara.
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St Mary's Collegiate Church has its origins in Kilrymont monastery and its group of canons called "Culdees" or Céli Dé ("Vassals of God"). These priests served a side altar in the Cathedral throughout the twelfth-century and into the thirteenth-century. The Céli Dé were headed by an abbot. The only abbot whose name is recorded is Gille Críst, the "abbot of the Céli Dé" recorded 1172 x 1178 feuing out lands to the steward of the Bishop of St Andrews, though an unnamed abbot is recorded again in the 1180s.
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4-5 The parish of the new baroque church didn't spare money on the interior either. After the constructions of the church had finished, the priest hired painters, carvers and gilders to ornate the interior of the church according to the Byzantine traditions. The episcopal throne, the pulpit, the iconostasis, the side altar and the main altar with the canopy were made for the baroque church between 1790 and 1816. The first (and for a long time the only) fresco, depicting the Trinity, was painted in 1780 by an unknown diocesan artist.
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A side altar is dedicated to Saint Benedict of Nursia while another side chapel features patron saint Andrew Kim Taegon and French Bishop Bum-Se-Hyeong, born as Laurent-Joseph-Marius Imbert, whom local devotees have dressed in the national costume of Korea. Stained glass windows depict the Nativity of Jesus and Adoration of the Magi, Jesus with the Twelve Apostles, and the Fifteen Mysteries of the Rosary. The windows were restored to their original condition in 1982 by artist Lee Nam-gyu. The crypt of the cathedral lies directly beneath the main altar.
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When her tomb was canonically opened in July 1830, two instantaneous cures were recorded to have taken place. Her incorrupt body rests above the side altar in the Chapel of the Apparitions, located at the Visitation Monastery in Paray-le-Monial, and many striking blessings have been claimed by pilgrims attracted there from all parts of the world. Alacoque was canonized by Pope Benedict XV in 1920, and in 1929 her liturgical commemoration was included in the General Roman calendar for celebration on 17 October, the day of her death.
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The statuette emphasises the suffering of both the Virgin and Jesus Christ.Forsyth, 177 Mary is shown in grief and mourning, holding the body of her son on her lap, as she leans over him and faces towards his crown of thorns. Christ body is emaciated, shrunken, decomposing and lacerated with the wounds of his crucifixion. Because of its small size and intimacy, the Pietà was probably not intended for a main church altar, rather for either a side altar or home altar to be viewed by those in repentance.
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In the early 1990s, Sampson's wife, Pamela, was diagnosed with a terminal illness and their son, Kyle, was born prematurely and died. Sampson's work has been influenced by other New York artists who honor the dead through vernacular memorials. His work differs from these artists, as most create murals in Latin American neighborhoods, street-side, altar-like assemblages of objects meant to last through only a brief public- display period of remembrance and grief. Sampson's work references and incorporates African spiritual traditions, including Yoruba, and follows the traditions of the Griot or storyteller.
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Cream Italian marble has been used for the altar, lectern, side altar, baptismal font, consecration stones, holy water fonts, treads and risers in the sanctuary and side chapel, and framing to the recess behind the Bishop's chair and side chapel altar. The Bishop's chair, crosier and Coat of Arms are of carved timber. Blonde timber has been used for the pews and handrail to the choir gallery. The floors are finished with a pale green vinyl tile; however, much of the nave floor has been covered with a dark blue carpet.
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An altar of Our Lady is a side altar in a Catholic church, usually the most prominent altar after the main or principal altar. It is dedicated in a special manner to the Blessed Virgin Mary, Mother of God. To indicate this specific preference, this altar is usually placed in a prominent position in the church, to the right of the main altar (the gospel side), or as the focal point of a distinct Lady chapel. In general it signifies any altar of which the Blessed Virgin is the titular.
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Holy Cross Church The local parish church is dedicated to the Holy Cross and belongs to the Roman Catholic Archdiocese of Ljubljana. It was built in the 17th century on the site of an earlier building, mentioned in written documents dating to 1420.Slovenian Ministry of Culture register of national heritage reference number ešd 2214 The year 1677 is carved into the door casing of the church. The main altar and the side altar dedicated to Saint Martin are said to have been brought from Bistra; they are marble works dating from the end of the 17th century.
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Some of his important commissions were for churches rebuilt after destruction in World War II, in particular the Kaiser Wilhelm Memorial Church (Kaiser- Wilhelm-Gedächtniskirche) in Berlin, Germany (1960) and the Church of St. Walberge, Xertigny, Lorraine, France (1951–1952). His greatest post-war work is in Saint Paul's Church, Whiteinch, Glasgow (1960). It consists of 162 Square metres of curved window set in cement and embedded with chipped glass. The main panels depict the life of Saint Paul and are ably supported in the side altar by panels of the Virgin and the roof of the Baptismal font.
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The main entrance portal, reminiscent of the neo-romance architectural style, is crowned by a relief representing Saint Peter as keeper of the keys to Heaven. The vast, high nave of the church's interior is separated from the lower aisles by an arcade. The three-sided main altar presents rococo-style gold ornaments in between which are placed the three figures of Saint Peter, Saint Paul and Jesus. The side altars are built in a similar style, with the Virgin Mary holding baby Jesus in the left side altar, and a statue of Saint Joseph to the right.
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The interiors of most Norfolk churches contain much pre-Reformation graffiti, unless they have been heavily limewashed or resurfaced. The churches of the Glaven ports in general, and Blakeney in particular, conform to this pattern. St Nicholas has an extensive array of prayers, merchant's marks and other symbols, but is notable for the large number of depictions of ships, at least 30, heavily concentrated in the nave towards the eastern end of the south aisle. There is a side altar there of unknown dedication, and an empty niche that would have once held the image of a saint.
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The Sacred Vessels at sanctamissa.org; retrieved 16 December 2018 The lunette resembles another liturgical object, the pyx or carrying case, but their functions are distinct; the pyx serves to transport the Host outside the church in order to take communion to an alternate venue, while the lunette remains within the church and serves to display the Host to onlookers. All of these objects, whenever they contain a consecrated host, are normally kept within the church tabernacle when they are not in use. The tabernacle may be behind the main altar, at a side altar, or within a special Eucharistic chapel.
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The dramatic simplification of the chapel was done in order to capture the original look of the chapel's starkness before Archbishop Dowling had the interior finished. Chapel interior Presently, the interior of the chapel has begun to be redecorated when the original Stations of the Cross were restored to the chapel, a statue of Our Lady of Confidence (Madonna della Fiducia) was installed and dedicated in a side-altar niche, and a relic of Saint Mother Theresa of Calcutta was placed for veneration in the chapel. All of the new additions were done under the direction of rector Aloysius Callaghan.
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In 1798, French troops under Louis- Alexandre Berthier occupied Rome as part of the French Revolutionary Wars, establishing the short-lived Roman Republic and taking Pope Pius VI prisoner. Among the several churches demolished during the French occupation was San Matteo in Via Merulana, which housed the icon. The Augustinian friars who rescued the icon first took it to the nearby Church of St. Eusebius, then later set it up on a side altar in the Church of Santa Maria in Posterula. In January 1855, the Redemptorist priests purchased Villa Caserta in Rome along the Via Merulana and converted it into their headquarters.
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Many squints in Mediæval churches were to allow a priest at a side altar to see the high altar in the chancel. However, position of the squint in this church suggests it may have been for a bellringer to see when to ring a Sanctus bell which would have been in a bell-gable outside above the chancel arch. Norman west portal below a Decorated Gothic window St Mary's priory was under royal patronage by early in the 13th century and was made an abbey in 1458. But in the Dissolution of the Monasteries it surrendered to The Crown in 1538.
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The church was built at the end of the 13th century and has been substantially altered on several occasions. It derives much of its present appearance from changes made during the 18th century and during a large reconstruction carried out in 1874-88. The church interior contains two sets of murals, one dating from the early 15th century and another made later in the same century by the workshop of Albertus Pictor or an artist influenced by him. The church also contains two notable medieval altarpieces, one of which may originally have been placed in Uppsala Cathedral as a side altar.
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The windows are glazed with diamond mullioned glass in varying shades of blue and green forming geometric patterns. Notable fittings in the church include the marble high altar, confessional boxes, stations of the cross, a shrine to Our Lady of Czestochowa and statues in the side altar recesses. The high altar is of white marble with green marble detailing and is centrally placed within the chancel below a "rose" window glazed with coloured glass depicting a crown and cross within a circle surmounted by a fleur-di-lis. Two timber confessional boxes are found at the rear of the church.
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The side altar contains an image of the Virgin Mary from the now non-existent Church of Maria Wald, which dates from 1540. The left nave has a small altar dedicated to St Sebastian in its apsis. The Grand Hotel Zell am See is situated in a unique position on a private peninsula right at the shore of Lake Zell, this large chalet is surrounded by water with a panoramic view of the mountains. The Porsche family farm is located in Zell am See, having been obtained in 1939 by the senior Ferdinand Porsche in anticipation of the war.
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In 1676, the main wooden altar completely deteriorated and this painting was placed on the adjacent side altar. The Korčula stonemasons constructed a new altar upon which the painting of St. Blaise with the emblems of the Republic was placed, but that forgotten to add any attributes of the islands, thereby suggesting a its ruling dominance. Duke Martolica Crijević marked the expansion of the church with a Baroque sign which he had given to be inserted into the very church façade. Fumar is the word for chimney and is a specific characteristics of the Lastovo houses.
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The local church, built on a small hill in the settlement, is dedicated to Saint Ulrich () and belongs to the Parish of Ig. It was built in the 17th century on the site of an earlier church.Slovenian Ministry of Culture register of national heritage reference number ešd 1852 Even though the church is dedicated to Saint Ulrich, the villagers venerate Saint Valentine more. In the past, the church's painting of Saint Valentine was temporarily moved from the side altar to the main altar on his feast day, and now it is displayed there permanently. The annual village blessings are also conferred on Saint Valentine's Day.
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350px Massacre of the Innocents is a 1531-1532 oil painting by Moretto da Brescia, originally painted on panel but later transferred to canvas. It is on display on a side altar in San Giovanni Evangelista church in Brescia. It was commissioned by Innocenzo Casari and his brother Giovanni Casari in compliance with the will of Giovanni Innocenzo Casari (died 19 September 1530), a third brother's son, which stipulated the erection of an altar dedicated to the Holy Innocents in the church of San Giovanni EvangelistaBegni Redona, p. 252. Innocenzo was superior general of a monastery of Lateran Canons attached to that church and Giovanni its prior.
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Paletti was the last driver to be killed at a Grand Prix meeting until the 1994 San Marino Grand Prix, which saw the deaths of Roland Ratzenberger during qualifying and triple world champion Ayrton Senna during the Grand Prix itself. In 1986 Elio de Angelis was killed during testing at Circuit Paul Ricard three days after the 1986 Monaco Grand Prix. In tribute to Paletti, the racetrack at Varano de' Melegari, in the province of Parma (northern Italy) is now called the Autodromo Riccardo Paletti. There is also a side altar in the Church of Santa Maria al Carrobiolo, Monza dedicated to his memory, in the Chapel of the Crucifix.
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Built on the north wing of the palace, and with an entrance that looks out on the highway, it is the oratory consecrated in 1713 and dedicated to St. Andrew the Apostle and Holy Elizabeth and Elena. It presents both outside and inside shapes almost perfectly intact. Inside it still preserves the demarcation which previously limited the space reserved for the hosts from the servitude. The main element is the baroque altar inlaid with colored marble that finds its twin in a similar side altar situated in the Cathedral dedicated to the Virgin Mary and that is located on the island of Krk in Croatia.
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The subject is also notable as one where the whole Christian Trinity is often shown together, sometimes in unusual ways. Although crowned Virgins may be seen in Orthodox Christian icons, the coronation by the deity is not. Mary is sometimes shown, in both Eastern and Western Christian art, being crowned by one or two angels, but this is considered a different subject. The subject became common as part of a general increase in devotion to Mary in the Early Gothic period, and is one of the commonest subjects in surviving 14th-century Italian panel paintings, mostly made to go on a side-altar in a church.
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Inside, the decor is entirely baroque. The vault was painted by Antoine Sublet (1821-1897) from 1860 to 1863. Jean-Baptiste Gault (1595-1643), who served as the Bishop of Marseille from 1640 to 1643, was buried in the church, where his tomb can be found in a side altar. The Holy water fonts are sculpted with cherubs and the insignia of the Recollets. The casing of the pipe organ depicts Christophe Andrault de Langeron (1680-1768), an aristocrat who was the supervisor of galleys during the Great Plague of Marseille, in charge of taking diseased bodies out of boats and hampering the spread of the disease.
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Located to the right of the main altar and sanctuary is the side altar of St. Joseph. It was given to the cathedral by King Victor Emmanuel II of Italy and the donation was facilitated by Joseph Mary Sala, an expatriate living in Hong Kong who was from the nobility of Italy. It is adorned by the royal coat of arms of the House of Savoy; this conspicuous symbol of Italy was said to have helped the cathedral identify itself as Italian rather than British, and thus, remain untouched throughout the Japanese occupation of Hong Kong, as the Kingdom of Italy and Empire of Japan were both signatories to the Tripartite Pact.
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Saint Paul by Michelangelo Buonarroti The cathedral's valuable pieces of art including The Feast of Herod by Donatello, and works by Bernini and the young Michelangelo make it an extraordinary museum of Italian sculpture. The Annunciation between St. Ansanus and St. Margaret, a masterwork of Gothic painting by Simone Martini and Lippo Memmi, decorated a side altar of the church until 1799, when it was moved to the Uffizi of Florence. The funeral monument for cardinal Riccardo Petroni (Siena 1250 - Genoa 1314, a jurisconsult of Pope Boniface VIII) was erected between 1317 and 1318 by the Sienese sculptor Tino di Camaino. He had succeeded his father as the master-builder of the Siena cathedral.
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An inventory in 1900 described the main altar and the sculptures are the work of Francesco Fabbrucci (1687-1767), who also created the statues of Faith and Charity, which are copies of the statues by Bernini on the tomb of Pope Urban VIII. On this altar there is an image of the Virgin Mary, while on the left side altar there is a canvas with the Madonna with Saints Margaret and Felici pray for souls in Purgatory by Angiolo Ricci. In the altar on the right is a canvas depicting the Madonna with Infant Jesus, Santa Margherita and San Felice by Giuseppe Angeli.Cortona antica: notizie archeologiche storiche ed artistiche, by Alberto Della Cella (1900), page 172.
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From 1383 to 1547 it was occupied by six anchorites, each being walled in to the anchorage for life, able to watch services through a squint into the church which looks down onto a side altar, being fed through another slit to the outside. It was used in this way until the reformation. The anchorage then became a place sporadically occupied by the poor or members of the church. In 1986 it became the Ankers House Museum, one of the smallest museums in the UK. It shows the conditions that an anchorite lived in when it was occupied, as well as containing Roman, Anglo-Saxon and medieval items found on the site.
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The three-part altarpiece with wings painted on both sides was part of the Schäffner collection. It was purchased for the Collection of Old Art from J. Kretschmer in Prague in 1937. The relatively small size of the stand suggests that it was originally meant for the side altar of a church or else for a private domestic chapel. The altarpiece is composed of a central panel measuring 128.5 x 76 cm and two hinged wings 39 cm wide. The Throne of Grace (in Latin ‘Thronus gratiae’, in German ‘Gnadenstuhl’, in French ‘Trône de grâce’) depicted on the central panel is an iconographical type used in around 1120 in the Cambrai Missal.
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In a side entrance on the west side of the church there is a painting of the church by Dutch born writer and artist, the late Hilda van Stockum. The fleur de lys carvings on the ceiling above the sanctuary bear witness to the support given to the parish by the French Royal Family who lived in the locality for several decades.T H R Cashman, The Orleans Family in Twickenham 1800–1932 (Twickenham 1982) passim The side altar dedicated to the apparition of the Sacred Heart to St Margaret Mary Alacoque also illustrate the church's association with France. Princess Marie-Amelie of Bourbon-Orleans was born in York House (now used by the London Borough of Richmond) in 1865.
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In the throne of the high altar are the statue of the Madonna, Saint Agnes and Saint Ursula which are Gothc works of 1499 attributed to Michael Parcher; the statues of St. Philip and St. James are by F. X. Renn of Imst made in 1857. The painting of the right lateral altar represent the Baptism of Jesus and the left side altar correspond to the Holy Family, both works are by Michael Lackner of Bruneck. The first organ was installed on May 1, 1909; the present one has been built by Orgelbau Pirchner of Steinach am Brenner and has 16 registers and 1250 pipes and was inaugurated on May 1, 1990.
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After a long stay in Italy, he reappears in Dubrovnik in 1494, where he and his father concluded an agreement for polyptych on Gradić's altar in the Dubrovnik Dominican church. Only four paintings are still in existence from his entire career: a triptych on a side altar in the Bumdevič Chapel of the Dominican monastery in Dubrovnik, The Annunciation in the art gallery of the Dominican church, the Durdevič family's altarpiece in the capitulary hall of the Dominican monastery, and another triptych in the Franciscan church on Lopud has also been ascribed to him.Radovinovič, Radovan (1999), The Croatian Adriatic, p. 363, Naklada Naprijed, Some modern author credit Božidarević's work as a part of Croatian art.
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Such cycles continued to appear in prominent positions, gradually becoming less common than scenes of the Passion of Christ.Schiller: I 31–32 The evolution during the 13th century of the illuminated Book of hours gave another important location for cycles, as did the gradual development of more sophisticated altarpieces for the Lady Chapel, or at least a side-altar, which all large churches had. With the arrival of the old master print, series of the Life were popular, and were often among the most ambitious works of printmaking artists. Martin Schongauer's Death of the Virgin was one of his most influential works, adapted into painting by a host of artists in Germany and beyond.
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Woodcut of the church by Michał Starkman (c. 1855) Church among the ruins of the Warsaw New Town (1945) The interior of the church The side altar to St. Anthony of Padua In comparison with other Polish cities, the Franciscans arrived relatively late in Warsaw, in 1646. They arrived thanks to King Władysław IV Vasa's chaplain - Italian Franciscan, Vincent Skapita. A religious, royal secretary Jakub Sosnowski donated the square, and the politician Zygmunt Wybranowski donated capital, and the two decided to create a church and a Franciscan monastery in Warsaw. The king agreed to this on 6 November 1645, and the Bishop of Poznan Andrzej Szołdrski issued a canonical license on 16 April 1646.
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In the interior a large part of the old interior decoration was removed and replaced, so that only a few pieces of the gothic decoration have survived, which are no longer in their proper context. In 1880 the fashionable view of the gothic as the uniquely German architectural style reached Essen and the baroque additions were undone, as far as possible. The westwork returned to its previous appearance, when Essen architect and art historian Georg Humann was able to effect its gothicisation. The baroque interior decoration was also removed; a side altar is now employed as the high altar of the adoration church of St. Johann Baptist in front of the Minster.
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A raised platform in the centre houses the altar, and another raised platform against the rear wall houses the Bishop's chair and crosier which are set in a marble framed recess which is clad with marbled vinyl tiles and also has the Bishop's Coat of Arms. Above this a large crucifix is fixed to the rear wall of the sanctuary. The vestry is accessed from the rear of the sanctuary either side of the Bishop's chair, and also via paired timber panelled doors either side of the sanctuary. The side chapel is located to the south of the sanctuary, and has a marble framed recess clad with marbled vinyl tiles behind the side altar.
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Bellarmine was canonized by Pope Pius XI in 1930; the following year he was declared a Doctor of the Church. His remains, in a cardinal's red robes, are displayed behind glass under a side altar in the Church of Saint Ignatius, the chapel of the Roman College, next to the body of his student, Aloysius Gonzaga, as he himself had wished. In the General Roman Calendar Saint Robert Bellarmine's feast day is on 17 September, the day of his death; but some continue to use pre-1969 calendars, in which for 37 years his feast day was on 13 May. The rank assigned to his feast has been "double" (1932-1959), "third-class feast" (1960-1968), and since the 1969 revision "memorial".
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Pope John Paul II once offered a Catholic Mass at the shrine as cardinal, and later prayed before the icon during his first pastoral visit to the country in February 1981. Almost all Catholic churches and chapels in the Philippines have a replica of the icon, often enshrined in a side altar. Copies of the icon can also be found in countless houses, businesses, and even public utility vehicles.Culture and Customs of the Philippines (Cultures and Customs of the World)Relations Between Religions and Cultures in Southeast Asia: Indonesian Philosophical Studies Every Wednesday, many congregations hold services where they publicly recite the rosary and the icon's associated novena, along with a priest delivering Benediction and celebrating a votive Mass in its honor.
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The organ—of a deep and mellow tone, and highly ornamented by figures in relief—was built at Canterbury sometime around 1700. The pulpit and reading-desk, richly sculptured in oak, is another well-executed piece of ecclesiastical workmanship from St. Omer. The altar-piece, the Assumption, was often attributed to Anthony van Dyck, though in reality it is by Gerard Seghers; whilst the painting over the side altar, once believed to be by Peter Paul Rubens is in fact by Pieter Van Mol. A high and strongly built wall, partaking more of the fortress than a cathedral in its aspect, flanks the building, and protects it from the street where formerly ran the old river, in its course through Calais to the sea.
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The new size crossed the red lines and practically enveloped the church. The other reconstruction was proposed by the mayor of Tyumen and the former merchant of the first guild Andrey Tekutyev, the latter of whom for many years, between 1902 and 1916, was churchwarden. After the death of his wife Evdokia Tekutyeva in 1913, the state architect K. P. Chakin drafted a construction plan of the side altar after the request of the buyer. However, the building was already a cultural property, after which the eparchial consistory had to send the project to the Imperial Archeological Commission, which in November 1913 forbade reconstruction, as those > will cloak very interesting artistic and architectural pieces of the > northern facade and destroy beautiful platbands.
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Editio Princeps (Libreria Editrice Vaticana 1998 ) and was not introduced into papal Masses until the time of Pope John Paul II. When, before the reintroduction of concelebration, priests frequently said Mass at a side altar while a public celebration was taking place at a nearby altar, the Congregation of Sacred Rites found it necessary to issue a prohibition against ringing a bell at the Mass celebrated at the side altar.Decree of 31 Aigist 1967 The same rule was made even for a Solemn Mass celebrated at an altar other than that at which the Blessed Sacrament is publicly exposed, and allowed the ringing of the altar bell to be omitted when Mass was celebrated at the altar of exposition.Gardellini, Instr. Clem., nos.
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Ceiling painting of the nave Slaves and freeman, like the Portuguese, organized themselves into brotherhoods, confraternities, or mutual aid societies, known as irmandades. Afro-Brazilian brotherhoods began to congregate at the side altars of parish and other churches; the brotherhood in Salvador was known, formally, as the Irmandade de Nossa Senhora do Rósario dos Homens Pretos de Pelourinho. Slaves and freedman worshiped at a side altar of Our Lady of the Rosary in the Basilica of the Immaculate Conception, Salvador from the beginning of the seventeenth century. The Brotherhood of Our Lady of the Rosary of Salvador first received the consent of the Jesuit provincial João Pereira and statutory confirmation by Archbishop of Salvador da Bahia João da Madre de Deus Araújo (1621-1686) in 1685.
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No more has been heard of the rest of the triptych since the mentions below in the Provenance. It would presumably have been an altarpiece, for a side-altar or small chapel. The subjects of the other missing panels remain uncertain; a Nativity or Adoration of the Magi are considered most likely for the central panel, at least twice as wide as this one, with a Visitation of Mary or Presentation of Jesus on the right-hand wing matching this one. The outer sides of the wings would probably have been painted in some fashion, but if there was a full scene, or even a figure in grisaille on the back of this, it is unlikely it would have been discarded when the painting was transferred to canvas in the 19th century.
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380px Sant'Apollonia Altarpiece is a 1761 oil on canvas painting by Pietro Scalvini, still on its original site on a side altar in the church of San Giuseppe in Brescia. Gaetano Panazza, Camillo Boselli, Pitture in Brescia dal Duecento all'Ottocento, catalogo della mostra, Brescia 1946 Its central figures are Saint Apollonia adoring the Madonna and Child, with Catherine of Alexandria and Saint Lucy at lower left and cherubs holding the palms and crowns of martyrdom at lower right. Pier Virgilio Begni Redona, Pietro Scalvini in AA. VV., Brescia pittorica 1700-1760: l'immagine del sacro, Grafo, Brescia 1981 A group of "devoted boys" requested an altar dedicated to Apollonia in the church on 12 April 1760 and one was granted them by father Guardiano Fortunato.Archivio storico di Brescia, Fondo di Religione, registro 97Begni Redona, p.
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High-relief frieze at the facade depicting the story of the La Naval. Aside from being an architectural jewel, the Santo Domingo Church houses artistic treasures. The second to sixth Santo Domingos were bound by a common symbol, the image of the Nuestra Señora del Santísmo Rosario or La Naval de Manila. The image of Our Lady of the Holy Rosary of La Naval is kept on the left side altar all year round, except during the October fiesta when a special canopy and platforms are built for it behind the main altar. The La Naval image has been the object of Filipino devotion that dates back to the 16th century, and the icon’s shrine in Quezon City is host to an annual feast that culminates in a procession that draws tens of thousands of devotees.
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The painting was by one of the prominent Czech Baroque artist, Karel Škréta, the painter of several other side altar canvases. In the church can be found works of other Baroque masters: sculptors Jan Jiří Bendl and Ignác František Weiss (altar sculptures), Jan Heidelberger (sculpture of St. Francis de Paul in the northern nave), painters M. Strasser (Finding the Holy Cross, moved from the main altar), Jan Jiří Heinsch (the painting of St. Joseph in the north aisle, the altarpiece of the Family Tree Of Jesse), Michael Václav Halbax (the painting of Saints Crispin and Crispinian), Petr Brandl (The arrival of St. Wenceslas at the Reichstag). From the Renaissance and the Baroque periods, an exceptionally interesting collection of carved tombstones and epitaphs has been preserved, including the 1601 tombstone of astronomer Tycho Brahe, which is located at the first southern pillar of the nave.
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The south transept side altar contains a copy of Grasmair's painting of Saint Anne with the infant Jesus—the original was destroyed during World War II. The two small side altars by the chancel arch contain Nazarene figures created by Dominikus Trenkwalder in 1893. The one on the left side contains a Baroque memorial tablet commemorating Kaspar Ignaz Count Kunigl, Prince Bishop of Brixen, who dedicated the church in 1724; the one on the right side shows Saint Peter Canisius, the patron of the Diocese of Innsbruck who played an important role in clarifying the Catholic faith in Austria during the Counter-Reformation. Organ front by Nikolaus Moll The pulpit by Innsbruck sculptor Nikolaus Moll is a Baroque masterpiece from 1725. Gilded and silver-plated throughout, the pulpit is adorned by three divine virtues supporting the base, symbols of the four Evangelists, and a host of angels and cherubs on the sounding board.
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Side altar and Icon of San Diego de Alcala in San Diego de Alcala Church, Philippines (dedicated to this Saint.) Didacus was canonized by Pope Sixtus V in 1588, the first after a long hiatus following the Reformation, and the first of a lay brother of the Order of Friars Minor. His feast day is celebrated on 13 November, since 12 November, the anniversary of his death, was occupied, first, by that of Pope Saint Martin I, then by that of the Basilian monk and Eastern Catholic bishop and martyr, Josaphat Kuntsevych. Until 1969 the Franciscans celebrated his feast day on 12 November,Catholic Encyclopedia: St. Didacus In the United States the feast day is celebrated on 7 November, due to the feast of St. Frances Xavier Cabrini. Didacus is the saint to whom the Franciscan mission that bears his name, and which developed into the City of San Diego, California, was dedicated.
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According to the non-canonical Gospel of Thomas which is a so-called apocryphon, the Apostles found Mary's grave empty, from which the sweet scent of rose was emanating. The disciples of Jesus Christ recoiled first, then in the clouds of the sky they caught sight of the Blessed Virgin glorified in body and soul, taken into heaven. The church has voiced from the beginning Mary's being taken into heaven, which was proclaimed a dogma by Pope Pius XII on 1 November 1950. The Cistercians revere the mother of Jesus as the patroness of their order, Queen of Heaven, and the order in Hungary often calls her Our Lady. Going back from the sanctum towards the entrance, the visitor can see the first side altar on the right, which was erected in honour of Saint Bernard (1090–1153), who is known as “the honey- lipped doctor” (Doctor Mellifluus; the world “doctor” also meant “teacher” in Latin).
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Above, In the upper wall there are two frescos from the early 15th century: the upper one depicting the Madonna in Throne and the lower one depicting the saints Cosma and Damian with the rest of the image missing. The right wall (when facing the altar) Four niches with fragmental mural decorations remain from old altars or shrines that have since been removed. From the front to back St. Luci between Saint John Baptist and Saint Rocco made in 15th century, a crucifixion between Saint Gerome and Saint Leonard dated 1599, The incredulity of St Thomas 16th century, beyond there is a side altar originally from the 15th century with a modern statue of the Virgin Mary and Child, beyond in a round niche is a newly restored 15th century ceramic bust of San Bernardino that was originally located at the Oratory of San Bernardino (now Bar Paretti on via Roma). The front wall On the wall around the apse opening we find a series of 17th century frescos depicting Franciscan Saints among which Saint Anthony of Padua.
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It was not restored after the war, despite efforts from the local Lukan family. The parish abandoned the building in 1963, removing the bells. The rest of the furnishings were removed by various collectors, including the main altar with a statue of Saint Florian in the central niche and additional statues on the sides and in the pediment, a side altar with a statue of Saint Vitus, and a statue of Our Lady of Lourdes created by August König from Srobotnik. There were five chapel-shrines in the village before the Second World War: a masonry shrine on the southwest edge of the village along the road to Stari Tabor, a masonry shrine on the northern edge of the village at the fork in the road to Srednja Vas and Gaber, a shrine about 320 m south of the church along the road to Stari Tabor, a shrine about 360 m to the northwest along the road to Srednja Vas, and a shrine about 180 m south of the church.
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Shrine with relics of Simeon of Verkhoturye at the Nikolayevsky Monastery, 1910 On 12 September 1704, the relics of St. Simeon were translated to the Nikolayevsky Monastery of Verkhoturye with the blessings of metropolitan St. Philotheus, and brought to the right-sided kliros of the monastery church. According to a legend, the translation was related to a cross procession, after lame Fool Cosmas prayed and wished to take rest.На Урале появился ещё один монастырь, связанный с памятью Симеона Верхотурского In 1716, the church was burnt down, but the shrine with the relics was unaffected and in 1838 was placed to the side-altar of Simeon the God-Receiver and Anna the Prophetess, which was renamed in honour of St. Simeon of Verkhoturye in 1863. The burial place of St. Simeon in Merkushino, where a spring gushed, was also honoured. The wooden chapel above it was replaced by a new stone chapel in 1808. The Brotherhood of the Righteous St. Simeon, Wonderworker of Verkhoturye, was founded in Ekaterinburg in 1886 for the enlightenment of people.Ekaterinburg Eparchial Journal, 1886, No. 48, p. 1090 Members of the brotherhood on the money of the Eparchy, the Synod and volunteers opened schools and supported missionaries.
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