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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 ...
They are situated three meters below the current floor, and extend from the high altar (the so-called papal altar) to about halfway down the aisle, forming a true underground church that occupies the space between the current floor of the Basilica and that of the old Constantinian basilica of the 4th century.
Behind the altar is a wooden plaque dated 1601 depicting Jesus carrying the cross. Four windows in the chancel contain stained glass by Heaton, Butler and Bayne . In the church are a number of carved stones, and a small sarcophagus from the Saxon era; this is considered to be one of the smallest sarcophagi in England.
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.
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.
Taken together, these readings explain the striking front and center position of a large crucifix normally fixed above or behind a Catholic altar. Western crucifixes usually have a three-dimensional corpus, but in Eastern Orthodoxy Jesus' body is normally painted on the cross, or in low relief. Strictly speaking, to be a crucifix, the cross ...
The altar was equated with the offering table in the forehall of the Temple of Solomon, which also stood between two columns (Boaz and Jachin). [6] A large wheel chandelier , which was also meant to have been a gift from Otto III to Bernward, hung above the Bernward Column until 1662, with a porphyry jug in the centre that was claimed to derive ...
The chapter recounts that Israel had the advantage over Amalek as long as Moses, watching the battle from a vantage point, held his staff aloft.. Matthew Henry considered that Jehovah-nissi (The Lord is my banner) "probably refers to the lifting up of the rod of God as a banner in this action.