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The retroquire in Winchester Cathedral. In church architecture, a retroquire (also spelled retrochoir), or back-choir, [1] is the space behind the high altar in a church or cathedral, which sometimes separates it from the end chapel.
Elisha Albright (E. A.) Hoffman (May 7, 1839 – November 25, 1929) [1] was a Presbyterian minister, composer of over 2,000 hymns and editor of over 50 song books. The son of an Evangelical minister, Hoffman grew up singing sacred hymns both in church and in the home with his parents. [2]
The tapestry installed behind the altar, at the north end of the nave in Coventry Cathedral. The tapestry depicts a seated Risen Christ, within an oval mandorla on a green background, surrounded by the four living creatures mentioned in Chapter 4 of the Book of Revelation, which are also symbols of the Four Evangelists.
Behind the Altar or The Secret of Abbe X (German: Das Geheimnis des Abbe X) is a 1927 German silent drama film directed by Julius Brandt and William Dieterle and starring Dieterle, Marcella Albani, and Alfred Gerasch. [1] The film's sets were designed by the art directors Erich Grave and Ernst Stern.
The participants begin to sing the Opening Hymn. Meanwhile, the ministers leave the vestry and enter the church hall, heading towards the altar. The officiant leading that particular divine service stands behind the altar; During the divine service: Free prayer by the officiant; The officiant reads out the biblical word for the sermon
Ivory's white color evokes spiritual harmony for the Edo; thus, its presence enhances an altar's sanctity. Ivory's important role as a commodity controlled by the oba also made it attractive for use on royal altars. This cast-brass head, from the collection of the Brooklyn Museum, would have been commissioned for a royal altar in Benin.
If the altar stands free in the choir, such that visitors can pass behind the main altar, both sides of the altarpiece can be covered with painting. The screen, retable or reredos are commonly decorated. Groups of statuary can also be placed on an altar. [6] A single church can furthermore house several altarpieces on side-altars in chapels.
George Kubler and Martin Soria, in Art and Architecture of Spain and Portugal, trace the typology to the mid-15th century Aragonese "viril", a window in the high altar created to display the consecrated host. According to Kubler and Soria, the camarín is first utilized in the Basílica de la Virgen de los Desamparados (Valencia), designed by ...