456 Sentences With "Greek cross" | Random Sentence Generator

I hope solvers won't be thrown by the word PITA hiding in PIT AGAINST directly beneath GREEK CROSS.

Children's scribbles may appear random but they often repeat shapes, like the mandala or the Greek cross, that suggest the beginning of language.

Mr. Guzzetta does a riff on the GREEK CROSS, his revealer at 51A, which makes its return to the New York Times Crossword after 40 years.

She was going into this nexus of gobbledygook and nonsense, with very little support, and she winds up finding that within scribbles are repeating shapes, like the mandala or the Greek cross.

This is the only theme entry that truly forms a GREEK CROSS, which has four arms of equal length, but no points deducted for the other theme entries because that's not really what this theme is about.

It depicts the Magisterium, the church hierarchy that wields theocratic power across Europe, with all the aesthetic trappings of mid-century totalitarianism: the monumental brutalist architecture, the soldiers in crisp black uniforms, a Greek cross symbol twisted ever so slightly to echo the Nazi flag.

Though the house of the artist Anselm Reyle, 212, and the architect Tanja Lincke, 240, resembles a massive Brutalist concrete Greek cross, inside one has the sense of floating in the air: The structure is balanced 2150 feet above the ground on sturdy concrete pillars that give the building views over the wide, slow-moving Spree River.

Basic Greek cross Minoan cross Equal-Armed Cross, also referred to as the square cross, the balanced cross, and the peaceful cross, is a name for the Greek Cross when this is found in ancient cultures, predating Christianity.

The church has a Greek cross plan. This church is a titular church of Czech cardinal Dominik Jaroslav Duka, O. P.

Katerina Balkaba (born 11 June 1982) is a Greek cross-country skier. She competed in two events at the 2002 Winter Olympics.

Christos Titas (born 21 November 1968) is a Greek cross-country skier. He competed at the 1988 Winter Olympics and the 1994 Winter Olympics.

Katerina Anastasiou (born 22 January 1973) is a Greek cross-country skier. She competed in the women's 5 kilometre classical at the 1998 Winter Olympics.

Lazaros Tosounidis (born 23 February 1963) is a Greek cross-country skier. He competed in the men's 15 kilometre event at the 1984 Winter Olympics.

Dimitrios Biliouris (born 9 April 1963) is a Greek cross-country skier. He competed in the men's 15 kilometre event at the 1984 Winter Olympics.

Dimitrios Andreadis (born 4 February 1942) is a Greek cross-country skier. He competed in the men's 15 kilometre event at the 1968 Winter Olympics.

Athanasios Koutsogiannis (born 3 April 1956) is a Greek cross-country skier. He competed in the men's 15 kilometre event at the 1976 Winter Olympics.

Efstathios Vogdanos (born 12 October 1948) is a Greek cross-country skier. He competed in the men's 15 kilometre event at the 1976 Winter Olympics.

The Romanesque architecture stone church with belltower was stripped of Baroque accretions during the latest restoration. The church has a Greek-cross layout.Key to Umbria.

Nikos Kalofiris (born 22 October 1970) is a Greek cross-country skier. He competed in the men's 10 kilometre classical event at the 1994 Winter Olympics.

Dimitris Tsourekas (born 13 November 1973) is a Greek cross-country skier. He competed in the men's 10 kilometre classical event at the 1992 Winter Olympics.

Timoleon Tsourekas (born 30 May 1970) is a Greek cross-country skier. He competed in the men's 10 kilometre classical event at the 1992 Winter Olympics.

Ioannis Mitroulas (born 19 March 1974) is a Greek cross-country skier. He competed in the men's 10 kilometre classical event at the 1992 Winter Olympics.

The swastika has been replaced by a stylized Greek cross. Nazi imagery was adapted and incorporated into the 2016 sci-fi movie 2BR02B: To Be or Naught to Be.

Maria Ntanou (; born 3 March 1990 in Veria) is a Greek cross country skier, Olympian who has competed since 2007. She was an Athlete Role Model of 2020 Winter Youth Olympics.

1120) likewise has five domes on pendentives in a Greek cross arrangement. Other examples include the domed naves of Angoulême Cathedral (1105–28), Cahors Cathedral (c. 1100–1119), and the (c. 1130).

The interior is on the Greek Cross plan, surmounted by an octagonal dome with a lantern. Decoration is attributed to the Nasini family. The crypt, a suggestive 16th century hall, contains the contrada's museum.

St. Mark's Basilica in Venice The Veneto region was strongly influenced by the architecture of Constantinople in the 11th century. On the island of Torcello, the Greek cross octagon style was used in the plan of the . In Venice, the second and current St. Mark's Basilica was built on the site of the first between 1063 and 1072, replacing the earlier church while replicating its Greek cross plan. Five domes vault the interior (one each over the four arms of the cross and one in the center).

The Last Supper forms the south arm of a Greek Cross. The Reredos itself provides the east, west and north arms. The center of the cross is the bronze relief of the Nativity and the Crucifixion.

In late 1630 the Renaissance church was completed. The plan was in the form of a Greek Cross. The construction of the college was completed in the middle of the 17th century. The architect was Benedetto Molli.

The structure has two distinct elements: an octagonal fence with a fountain in a newsstand; The second element is an arched newsstand, featuring a mosaic and a Greek cross. The whole structure is built in local stone.

The interior follows a plan of a mix between a Latin cross and Greek cross, with three naves. The walls and ceiling are decorated with frescoes of Baroque inspiration, made by Giuseppe Melle between 1957 and 1965.

The tambour, which protrudes from the centre of the construction, is in Armenian style. The interior is on the Greek Cross plan inscribed within a square, with four huge columns, decorated with brick elements, supporting the dome.

The building itself is shaped like a Greek cross. It was expanded in the nineteenth century. Inside the church, the altar dates back to the eighteenth century. Additionally, the pulpit inside the church was designed by Jean- Baptiste Rambot.

In the Orthodox ranking of feasts, a day of "Polyeleos" rank is a "Middle feast", ranking above a Great Doxology, and below an All-Night Vigil. In liturgical calendars it is symbolized by a Greek cross printed in red.

These churches were mainly made of wood, though some landowners erected stone churches on their estates. Most of these churches were built on the plan of a Greek cross. Some churches also display elements of Romanesque or Gothic architecture.

4 is "St. Patrick's Cross" [p. 251] of children in S. of Irl. c. 1850s In the 1890s, they were almost extinct, and a simple green Greek cross inscribed in a circle of paper (similar to the Ballina crest pictured).

Upon the merger between the Boys' Brigade and the Boys' Life Brigade in 1926, the red Greek cross was placed behind the anchor to form the current emblem. The cross originally formed part of emblem of the Boys' Life Brigade.

They are the only remaining parts of the first church. The second wooden church, erected in the Baroque style in 1717, completely replaced the first building. It has the shape of an equal-armed Greek cross. The space can accommodate 1,541 worshipers.

Sanctuary InteriorThe interior of the church is in the plan of a Greek cross with an octagonal dome rising above the north nave. The lower walls of the Sanctuary are paneled in light oak to match the pews with notable stained glass throughout.

The piece is set as a by Greek cross with a stepped pyramid at its center. The arms of the cross are formed by stepped pyramids of equal size that are sunk into the ground."About the Artist," Morales.com, Accessed June 18, 2015.

Internal dome Dome Main Altar Santa Maria delle Carceri is a basilica church, designed by Giuliano da Sangallo, and built in Prato, Tuscany, Italy. It is among the earliest examples of a Greek cross plan for a complete church in Renaissance architecture.

The church was built following a Greek cross plan. At the crossing of the transept, the church is surmounted by a hexagonal cupola, topped with a square lantern. All of the interior decor, stucco, altarpieces, and paintings are in the Baroque style.

Many claimed the image had miraculous movements of the eyes causing the seismic events to stop. A church was thus erected around the image. The church was built in an unusual nearly symmetric Greek cross layout. The entrance portal was completed in 1662.

The interior has a Greek cross plan and cupola. The interior was decorated by the stucco artist Costantino D'Adamo and the choir was made by Domenico Bertone. The church has frescoes by Paolo De Matteis. The church is rarely open and in poor upkeep.

The alleged türbe (tomb) of Hazreti Cabir (Jabir) in the south apse. The building is wide and long, and has a domed Greek cross plan. It is oriented in a northeast – southwest direction. It has 3 polygonal apses, and the narthex has been destroyed.

Other listed 19th-century features of the estate include the shellhouse, a brick-built garden house by Edward Blore whose interior is faced entirely with seashells; the lodge, a one-storey building with a Greek-cross plan; and the brewery, now used as garages.

The Old McHenry County Courthouse faces the Woodstock public square. The Italianate structure was built out of brick with limestone trim. With four identical, wings around a core, the building resembles a Greek cross. The building stands two stories tall with a brick basement.

Airplane engines represent Aviation repair units and a mule's head over which is engraved "8 Chev" the Transport units, the "Chev 8" being the French railway boxcar used to transport 40 men or 8 horses. Finally oak leaves represent the Judge Advocate General Corps. These carvings appear again in groups of seven on each side of the chapel. On the north face is a mule's head, bayonets, a plane-table, crossed machine guns, Greek cross and caduceus, airplane engines and cannon, on the south face the grouping is a plane table, crossed machine guns, oak leaves, Greek cross and caduceus, cannon, propellers and tanks.

In the seventeenth century a Greek cross plan was used for churches such as Cawdor (1619) and Fenwick (1643). In most of these cases one arm of the cross would have been closed off as a laird's aisle, meaning that they were in effect "T"-plan churches.

The medal is a Greek cross made of copper. Inscribed on the horizontal arms is Al Valore Militare (For Military Valor). On the top arm of the cross is the monogram of the Italian Republic. The bottom arm depicts a Roman sword sheathed in bay leaves.

The interior is on a Greek cross plan, with Baroque decoration. Its dome fresco by Michelangelo Ricciolini depicts the Glory of Paradise. The church houses a gilded wooden organ. To the left of the entrance is a Lourdes chapel in the form of a grotto, dedicated in 1912.

Originally representing the Christian cross used as field sign and standard during the Crusades, heraldic crosses diversified into many variants in the late medieval to early modern period, the most common (besides the plain "Greek cross") being the cross potent, cross pattée, cross fleury, cross moline, cross crosslet (etc.).

The bell tower was built in the fourteenth century and was changed to a mechanical clock in 1850. Built by Pietro Mei of Montecarotto. It was restored in the 21st century. The parish church of San Savino was built with a Greek cross layout and a central dome.

At Hagia Sophia, Istanbul, there is a central dome, the frame on one axis by two high semi-domes and on the other by low rectangular transept arms, the overall plan being square. This large church was to influence the building of many later churches, even into the 21st century. A square plan in which the nave, chancel and transept arms are of equal length forming a Greek cross, the crossing generally surmounted by a dome became the common form in the Eastern Orthodox Church, with many churches throughout Eastern Europe and Russia being built in this way. Churches of the Greek Cross form often have a narthex or vestibule which stretches across the front of the church.

His blue painted wall decoration with a Greek cross was uncovered in October 1964. There are otherwise a tapestry, created by Kristin Sommerfelt from 1984 and two paintings by Lagertha Munthe. The church organ has 27 voices. The three church bells from 1939 are created by Olsen Nauen Bell Foundry.

Retrieved on 20 October 2017. The church was built in the form of a Greek cross crowned by central dome. The church is mentioned in 1762 in the pastoral visitation made by Bishop Bartolomé Rull. Nowadays the church is no longer in use for religious purposes and is in disrepair.

The upper level narthex and galleries have five domes, with the middle dome of the narthex an open lantern. This Greek-cross octagon design, similar to the earlier example at Daphni, is one of several among the various Byzantine principalities. Another is found in the Hagia Theodoroi at Mistra (1290–6).

Around 1211, King Andrew II of Hungary permitted the knights to settle around Prejmer, where they began constructing a church in 1218, in Gothic style. They were responsible for the Greek cross plan, the only one of its kind in Transylvania, but found in a few churches in northeast Germany.

The building has a Greek cross plan and four courtyards, two of which were completely completed. The first is of Covarrubias and gives access to the upper floor through a three-ladder staircase. The museum has two floors. The cruiser covers the two floors and is covered with ribbed vaults.

The star and crescent and orange Greek cross represent the Muslim and Christian citizens of the community. The blue background symbolizes the peaceful co-existence among the people of San Esteban. The Steven's Flag was the second community flag used in Nabua after the Blue flag was replaced by the former.

Antti Asplund has designed several fashion collections since 2006. His designs often have a dramatic and romantic approach. Along with his first collection, 'The Funeral Dresses', Asplund introduced his hallmark, the cross necklace, which is based on the Greek cross. Asplund has designed one children's fashion collection, 'Crying Kids', in 2012.

An early restoration was completed in 1234. It is a fine Romanesque building in grey stone, built in the form of a Greek cross, with a dodecagonal dome over the center slightly altered by Margaritone d'Arezzo in 1270. The body purported to be Cyriacus' lies prostrate and visible in his tomb.

The medieval church at this site was initially built within the protection of a castle. It was rebuilt over the centuries, including a consecration in 1525. The present church and bell-tower were competed between 1808 and 1812. The layout is that of a Greek cross with a single nave.

However, no new plan proceeded any further than the paper on which it was drawn. A Rebuilding of London Act which provided rebuilding of some essential buildings was passed in 1666. In 1669, the King's Surveyor of Works died and Wren was promptly installed. Wren's Greek Cross design for St Paul's.

The raised two-story limestone building has a Greek Cross plan with a tower and copper-clad dome at the crossing and three porticos with Corinthian columns. The building was listed on the National Register of Historic Places in 1983 and received the Fort Worth Historical and Cultural Landmarks Designation in 2006.

Santa Maria del Suffragio is a Neoclassic style, Roman Catholic chapel, located in the main cemetery of Piacenza, Italy. It was completed in 1826 with a Greek cross layout, by Lotario Tomba. The chapel adorned by sober portico. The interior dome and pendentives were frescoed in 1936 by the painter Luciano Ricchetti.

The Henry Dunant Medal is in the shape of a Geneva or Greek cross. The arms of the cross are colored with red enamel. In the center of the cross is a circular bronze medallion bearing effigy of Henry Dunant, facing left. Circumscribed around the effigy are the words HENRY DUNANT 1828-1910.

The earthquake of 1980 brought down the frescoed ceiling, and failure to protect the fragments led to their degradation, as well as the interior. Vandalism further despoiled the interior or marble and balustrades. The building has not been reconstructed or deconsecrated. The interior has a Greek cross plan with four corner chapels.

The layout of the church is that of a Greek Cross. The main altarpiece depicts a Madonna and Child with Saints Valentine and Teresa by an unknown artists inserted into a baroque frame.TUMA website, Tourism website for the province of Macerata, sponsored by the Fondazione Cassa di Risparmio della Province di Macerata.

Interior Altar of the church The church has a Greek cross plan. semicircular apse has five arched windows, above which, within a frame, is the inscription SANCTA MARIA MATER DEI ORA PRO NOBIS (Holy Mary, Mother of God, pray for us). In the apse there is a fresco of the painter Federico Morgante.

The chapel of São Frutuoso continues to be an enigma, but it is a uniquely rare example of Visigothic structures in Portugal, based on a Greek-cross, which may have followed the design of a Byzantine mausoleum comparable to the Galla Placidia, in Ravenna. The church is laid out in a Greek cross design, with a rectangular exterior, and semi-circular interior arms (to the north, south and east). From the exterior, the main volume of the chapel is surmounted by a tower-like cupola and cross, with the roof covered in rounded tiles. The limestone walls are surmounted by edged cornices, preceded by frieses, also in limestone, in the shape of rope, semi-circles, six-pointed rosettas and fleur-de-lis.

It was replaced by a stone courthouse designed by G.P. Randall and built beginning in 1868. It was a Greek cross-shaped structure composed of locally quarried limestone that was capped with an octagonal dome. There was a jail on the second floor. The building was destroyed in a fire of October 2, 1875.

Third iteration Jerusalem cube A Jerusalem cube is a fractal object described by Eric Baird in 2011. It is created by recursively drilling Greek cross-shaped holes into a cube., published in Magazine Tangente 150, "l'art fractal" (2013), p. 45. The name comes from a face of the cube resembling a Jerusalem cross pattern.

In Poland, Orthodox and Greek Catholic churches maintained the forms developed during the Middle Ages, such as Greek cross plans or longitudinal plans in three parts with each part covered by a dome, but with updated styling. Examples include the Walachian church of Paulo Dominici (1591-1629), the (c. 1600), and the (after 1671).

Lambert van Haven: Church of Our Saviour, Copenhagen Van Haven is remembered above all for his architecture, especially for the enormous Church of Our Saviour, Copenhagen built in the Dutch Baroque style in the form of a Greek cross with Tuscan pilasters rising to the top of the facade.Vor Frelsers Kirke. Retrieved 18 December 2009.

There is a large entrance that is built on four pillars. The main church—the so-called White Church—is built on a Greek cross plan. It has an umbrella-shaped dome and a bell tower. There is also a Black Church, the oldest part of the ensemble, which is also crowned by a dome.

Specifically, Sangallo used a Greek cross plan. This is a classical layout design that features four arms of equal length extending off of a central nave and it had not been used extensively in the Renaissance before that point. Construction began on the church in 1486, but the façade remains unfinished to this day.

The church, built in a Greek cross layout, was built in 1479 as an ex voto by the community for the ebbing of the plague. During the 16th century, it was affiliated with the Franciscan order, until their expulsion during the Napoleonic occupation. The church was refurbished in the 18th century. The adjacent convent is highly altered.

Church of Our Lady interior viewOld postcard drawing of the church The plan is in the form of a Greek cross with four arms of equal length. The window arches as well as the pilasters and sunken columns inside the church suggest the involvement of Lombard builders from northern Italy.Church of Our Lady, Kalundborg. From Planetware.com.

Construction of the church began in 1934, and the church was consecrated in 1940. The architect Camillo Uccelli designed the Neo-Romanesque church with some Byzantine architectural touches, including a Greek-cross layout. The interior declaration was performed by Uso Albertelli and Alberto Aspetti. The image of the Redeemer on the facade was painted by Ernesto Giacobbi.

Designed on a plan reminiscent of a Greek cross, the facades have a strict symmetry. The building has two floors above a raised basement, with mullioned and transomed windows. Each floor had three rooms with a staircase in the south projection of the cross. The exterior of the building is decorated by friezes of a religious nature.

The design is often erroneously attributed to Bramante. It has a Greek cross plan: three apses are polygonal and the one on the north side is semicircular. Other architects who helped bring the work to completion were Antonio da Sangallo the Younger, Galeazzo Alessi, Michele Sanmicheli, Vignola and Ippolito Scalza. The church was completed only by 1607.

The sacristy was rebuilt over the following centuries.Story of construction The layout is that mainly of a centralized Greek Cross church with four arms, although the entrance elongates through an arch to form the Coro dei Cavallieri. In the crossing is the majestic dome. Each arm has a half-dome, while between the arms are four corner chapels.

The church was built in 1898 and designed by the architect Claudius August Wiinholt from Viborg. At the time, the church's construction cost 23,000 krones. An additional 2,000 krones were spent for the construction of a chapel, where the church bell was originally hung. The church's floor plan resembles a greek cross, where each wing is of equal length.

The church is centrally planned edifice, having the form of a Greek Cross. It has a large central dome supported on four pendentives and buttressed on each side by a lower semi-dome over an apse. Beneath each semi-dome is a gallery supported on an arcade. The general concept is heavily based on the Hagia Sophia.

The first stone was laid on April 1, 1854 and by October 9, 1855 the new church was substantially finished. A plaque within the church records this event. The new church's layout was a greek cross. The new parish priest, Giuseppe Maroni, called the Milanese artist, Giovanni Valtorta, to paint the frescos which are still extant.

This church displays a Greek cross plan, and resembles a hybrid of contemporary Baroque masterpieces by Bernini (dome resembles Sant'Andrea al Quirinale) and Borromini (the plan resembles Sant'Agnese).Rudolf Wittkower, pages 303-4. He also designed the church of Santa Teresa a Chiaia. His last great church was Santa Maria Maggiore, built between 1653 and 1675.

The minaret/bell tower was declared a Bien de Interés Cultural site in 1931. Muslim towers, battlements, and a staircase have been retained. Situated within the defunct convent is the Church of St Catherine (Catalina) which was to a design of a slightly irregular Greek Cross, and measured . The east- facing sanctuary contains remains of a mosaic.

Other than one small group of rowhouses, the space across the Elk is all parking lots. The cathedral was designed in the shape of a modified Greek cross with short transepts and squared ends. It is largely finished in split- cut Potsdam sandstone, with decorative trim in brownstone. The east end has the greatest level of finish.

The building has a Greek cross shaped groundplan and two storeys high,Fanny Davis. Palace of Topkapi in Istanbul. 1970. pg. 266-267. ASIN B000NP64Z2 although since the building straddles a declivity, only one floor is visible from the main entrance. The exterior glazed bricks show a Central Asian influence, especially from the Bibi-Khanym Mosque in Samarkand.

Gebhard died at Hohenwerfen on 15 June 1088 and is buried in the church of Admont Abbey. His feast day is 15 June. He is shown as a bishop with a Greek cross and a unicorn. In 1629 a process of canonization was begun but delayed due to the Thirty Years' War and has never been concluded.

The house's floor plan in the shape of a Greek cross, with four equal wings extending from an octagonal core, is based on a published design by William H. Ranlett, The Architect (New York) 1847, Vol. I, Plate 32, published again in Godey's Lady's Book, January 1850; the Godey's Lady's Book engravings were framed and kept in the house. The house is an "Anglo-Grecian Villa", built in the shape of a Greek cross between 1853-1855 by Peter and Columbia StuartMrs Hairston was a sister of J.E.B. Stuart, later a Confederate general. Hairston. The builder Peter Wilson HairstonPeter Wilson Hairston Papers, University Libraries, University of North Carolina a white Superior Court judge in North Carolina, who had inherited Cooleemee from his grandfather, was a central figure in Henry Wiencek's telling of the family's story.

It was decided by the archbishop of Fermo, Alessandro Borgia, to entrust the local administrator Alessandro Bonafede Seniore to build a church to house the image and faithful. The architect Gaetano Maggi was commissioned a design at the cost of 3000 scudi. Construction began in 1739. The brick facade has a concave front, and the layout is that of a greek cross.

The original layout appears to have been a Greek cross, with multiple domes. The Normans under Roger II, built a church on top, eliminating many of the domes. On September 3, 1594 the church was damaged and burned during a sack of the town by Saracen raiders. In 1597, the church commissioned a new painting of the Annunciation by Agostino Ciampelli.

San Biagio is a Neoclassical Roman Catholic parish church in Saludecio, province of Rimini, region of Emilia-Romagna, Italy. A new church was designed by the architect Giuseppe Achilli, and reconstruction occurred in 1804. The layout is in the shape of a Greek Cross. The interior heavily decorated with stucco, has works by Antonio Trentanove, Guido Cagnacci, Claudio Ridolfi, and il Centino.

It was made in the latter half of the 17th century. The lower image – The Last Supper – is stylistically similar to other church images dating from about 1700. The upper image – Christ on the Cross – dates from the late 1600s. The altar is adorned with the Citadel's own 'logo': a Greek cross in a stylized outline of the five bastions of the Citadel.

Vasile Drăguț, Arta gotică în România, p.247. Editura Meridiane, Bucharest, 1979 The artist is unknown but was presumably trained in the Viennese school. A bell tower was added above the center of the church in 1461. The Greek cross shape was modified between 1512 and 1515: two side naves of unequal size were added while the main one was extended.

The Starke County Courthouse is a historic courthouse located at Knox, Starke County, Indiana. It was designed by the architectural firm of Wing & Mahurin, of Fort Wayne and built in 1897. It is a three-story, Richardsonian Romanesque style Indiana Oolitic limestone and terra cotta building. It has a Greek cross-plan and is topped by a tiled hipped roof.

It was restored in the 1980s. The layout of the church is in the shape of a Greek cross in which the space between the arms has been partially filled by lower volumes. On the canal side is the main entrance, the elevation of which is supported by a balustrade. Some 500 people were buried in the church, including Adriaan Dortsman.

The library is a beautiful example of Ottoman architecture of the 18th century. The exterior of the building is faced with marble. The library has the form of a Greek cross with a domed central hall and three rectangular bays. The fourth arm of the cross consists of the porch, which can be approached by a flight of stairs on either side.

The sanctuary was consecrated in 1771 by the bishop of Novara. The church has a Greek cross design in a Baroque style with two lateral altars; the architecture and the frescos were made by Lorenzo Peracino. The altarpiece, coming from the old sanctuary, is a panel painting by Fermo Stella and represents the Pietà. In 1998 the complex has been entirely restored.

A Colonel Mitchell was the proprietor of the Long Island Hotel. This hotel was described as a "splendid hotel, large and accommodating, constructed in the form of a Greek Cross and located in the center of the island on the west side". Colonel Mitchell was known as being welcoming, benevolent, and gentlemanly. The Eutaw House was also constructed at this time.

João Antunes prepared an ingenious design for Santa Engrácia, never before attempted in Portugal. The church has a centralised floorplan, with a Greek cross shape. On each corner there is a square tower (the pinnacles were never completed), and the façades are undulated like in the baroque designs of Borromini. The main façade has an entrance hall (galilee) and three niches with statues.

148 The building's architectural style was described by a member of the firm in 1930 as "the Early Christian, with plan in the shape of the Greek cross, like the early Byzantine churches" though a modern viewer would find closer parallels in High Renaissance centrally planned churches of the 16th century, or Andrea Palladio's Tempietto at the Villa Barbaro at Maser.

Brick dentils Waller Hall was built in the Renaissance style of architecture. This red brick building was designed in the same proportions as a Greek cross. Bishop Janes was responsible for proposing this use of the cross shape for the building. Each of the two wings is long and wide with aedicule porches on the west, east, and north ends of the building.

The church's entrance had a lonja. The floor layout was in Greek cross with a very developed chancel and four chapels in the corners of intersection of both arms. The style of the church, by 17th century engravings, had characteristics of the classical Mannerism. Ruiz de Altable mentions that the church building: possessed eighty feet long, sixty wide and rises in corresponding height.

Chapelle de la Salpêtrière (Hospital Chapel), at n° 47 Boulevard de l'Hôpital is one of the masterpieces of Libéral Bruant, architect of Les Invalides. It was built around 1675, on the model of a Greek cross and has four central chapels each capable of holding a congregation of some 1,000 people. Its central octagonal cupola is illuminated by picture windows in circular arcs.

Byzantine lintel, found in Al-Burj in the 1870s A Byzantine lintel was found in the village in the 1870s, with "a Greek cross inscribed in a circle, and having its four arms ornamented with curious facet-work."Clermont-Ganneau, 1896, ARP II, p. 98 Just west of Al-Burj is Kŭlảt et Tantûrah, "the castle of the peak."Palmer, 1881, p.

It is on a Greek cross plan, inspired by Brunelleschi's Pazzi Chapel. Works lasted for some twenty years. The interior is run by a bichromatic maiolica frieze by Luca della Robbia, also author of four tondos depicting the four Evangelists in the cupola. The external façade is unfinished, only the western part being completed in the 19th century according to Sangallo's design.

The façade is decorated with lesenes and stuccoes. The interior is on the Greek cross plan with a convex rhomboidal map, like the one of San Carlo alle Quattro Fontane. The apse, deeper than the side chapels, still houses the baroque altar made of polychrome marbles and a stained glass window depicting Saint Rita of Cascia. The dome is in the middle.

The main body of the twelve-sided shape, contained a heptagonal baptismal font. The compositions were mainly in marble and tuff. The columns that support the barrel vault was damaged over time, as they have lost the gold mosaics that once covered it. Corresponding to the cardinal points, left four small dodecagon aisles to form a structure of a Greek cross.

The cross is a silver, red enameled Greek cross, similar to that of the Order of the Cross of Independence and the Cross of Independence of 1930. It is inscribed "WOLNOŚĆ I SOLIDARNOŚĆ" (freedom and solidarity) across the horizontal arms. In the center of the cross carved stylized image of the White Eagle. The reverse side of the cross is smooth.

American eagle memorial The Ardennes American Cemetery is generally rectangular in shape. Its grave plots are arranged in the form of a Greek cross separated by two broad intersecting paths. At the east end of the traverse path is a bronze figure symbolizing American youth, designed by sculptor C. Paul Jennewein. The cemetery is surrounded on all sides by stands of trees.

The Dutch Reformed church was built in the form of a Greek cross with teak interior, unique with a beautiful pipe organ made of solid yellow copper. The sundial was erected by Danie du Toit in 1965, who had no training in this field but gained his knowledge through meticulous observation. Time can be read from it, accurate to within 30 seconds.

Retrieved 20 May 2010. The installation was displayed at the experimental Gdańsk, Wyspa Gallery, an institution associated with the academy, and consisted of two elements: a large Greek cross made of metal was suspended from the ceiling of the gallery, and covered; its center was filled in with an image of a man's hips, thighs, and penis.Dorota Nieznalska. Pasja (Passion) , 2002. Artliberated.

Since it was founded, the shipyard has executed more than 425 shipbuilding contracts, including 245 for the U.S. Navy. In 1894 he was named president of the Boston Elevated Railway Company. Hyde wrote Following the Greek Cross (1894) and Recollections of the Battle of Gettysburg (1898). Hyde died on November 15, 1899 at Fort Monroe, Virginia, after a short illness.

The Iconostasis in the cathedral The architecture is Neo-Byzantine and the architect was Pavel Alis. The church is made in the Greek Cross plan, with a square central mass and four arms of equal length. The walls and dome for the cathedral was made with red bricks sourced locally. The stairways and other aisles were made of Rapakivi granite procured from Finland.

It was rejected because it was not thought "stately enough". Wren's second design was a Greek cross, which was thought by the clerics not to fulfil the requirements of Anglican liturgy. Wren's third design is embodied in the "Great Model" of 1673. The model, made of oak and plaster, cost over £500 (approximately £32,000 today) and is over tall and long.

A church at site, of medieval construction was replaced by the present church in 1863. The Romanesque architecture campanile, likely from the 11th century still remains. The stone tower has traces of mullioned windown, now closed and a closed arcade. The sober facade of the church has two heavy columns; the interior layout is of a Greek Cross tre navate, con five altars.

He is dressed in black satin with a white collar edged with lace, lace ruffles, and an embroidered wristband. At top to the right hangs his coat-of-arms, bearing in the upper field a Greek cross and in the lower three water-lily leaves. Painted about 1620. [Pendant to 374.] Canvas on panel, 40 inches by 30 1/2 inches.

After the Irpinia earthquake of 1980, the complex was abandoned and given to the Community of Sant'Egidio. The church has a central Greek cross plan with a circular room, decorated in baroque style with Corinthian columns.Vincenzo Regina, Le chiese di Napoli. Viaggio indimenticabile attraverso la storia artistica, architettonica, letteraria, civile e spirituale della Napoli sacra, Newton & Compton Editore, Naples 2004.

The cathedral has a Latin cross plan, though the transepts are quite short. Flanking the nave are six interconnecting side chapels and an ambulatory around the apse. A blue dome rises 45 meters above the crossing. The chapel of Holy Communion, configured as a small Greek cross-planned temple, is considered to be one of the most beautiful examples of the Spanish Baroque.

In the seventeenth century a Greek cross plan was used for churches such as Cawdor (1619) and Fenwick (1643). In most of these cases one arm of the cross was closed off as a laird's aisle, with the result that they were in effect "T"-plan churches.A. Spicer, "Architecture", in A. Pettegree, ed., The Reformation World (London: Routledge, 2000), , p. 517.

The current floor plan is in the shape of a Greek cross following the addition of the two transepts in 1686–87. The interior of the church dates to the late 17th century and the mid-18th century and is decorated in the Baroque style. In 1730, the wooden ceilings are illustrated with biblical scenes by the artist Johann Kinnerus (1705-1759).

The souls in the Fifth Sphere form a Greek cross, which Dante compares to the Milky Way, Canto 14. The planet Mars is traditionally associated with the God of War, and so Dante makes this planet the home of the warriors of the Faith, who gave their lives for God, thereby displaying the virtue of fortitude.Dorothy L. Sayers, Paradise, notes on Canto XIV. The millions of sparks of light that are the souls of these warriors form a Greek cross on the planet Mars, and Dante compares this cross to the Milky Way (Canto XIV): > As, graced with lesser and with larger lights between the poles of the > world, the Galaxy gleams so that even sages are perplexed; so, constellated > in the depth of Mars, those rays described the venerable sign a circle's > quadrants form where they are joined.

The church was built between 1795 and 1802 by design of the architect Antonio Ciofi, with a Greek cross layout, and a façade with a portico of ionic columns. The church was commissioned by a local confraternity. The crossing has a small dome, whose exterior is decorated with yellow and green maiolica tiles. The nave is separated by 12 columns from the two aisles.

With the development of systematic heraldry, there was great demand for variations of the cross symbol and associated terminology. Juliana Berners reports that there were Crossis innumerabull born dayli. The term "St George's cross" was at first associated with any plain Greek cross touching the edges of the field (not necessarily red on white).William Woo Seymour, The Cross in Tradition, History and Art, 1898, p.

Like many experimental techniques, the use of gunpowder was not easy to control; several workers were killed and nearby residents complained about noise and damage. Eventually, Wren resorted to using a battering ram instead. Building work on the new cathedral began in June 1675. Wren's first proposal, the "Greek cross" design, was considered too radical by members of a committee commissioned to rebuild the church.

The church was building in the 16th century in a Greek Cross layout with a central octagonal dome with a small lantern. It is claimed that this was the first parish church in Cameri. It likely filled this function after 1583, while the present San Michele was being erected. At some point, perhaps after one of the frequent plague epidemics, the church was dedicated to St Roch.

The form of these Roman Catholic churches is deeply influenced by the Greco-Catholic and Orthodox presence in the region. Some display Greek cross plans and onion domes, but the most interesting of the churches combine these features with the Roman forms with elongated naves and steeples. Other collections of wooden churches of the region are in the open-air museums in Sanok and Nowy Sącz.

The shape of the building was designed to be that of a Greek cross, with arms long and wide. Each arm is aligned on the property so that each end faces one of the principal directions. All original classrooms (eight in total) had windows on three sides to assist in allowing light and adequate ventilation. The building was the first in the country with this design style.

The cathedral was built from 1916 to 1921 and was designed by Louis Allmendiger. The plan is based on a Greek cross and is designed in the Russian version of the Byzantine style, but with a Renaissance flavor. The building features characteristic copper Onion domes atop four octagonal belfries and a large central copper-covered dome. Each done is topped by a large, gilded Russian Orthodox cross.

Luçon, 1980] The church was damaged during the Hundred Years' War. In 1533 there were only 9 monks here. In 1562 during the Wars of Religion Protestants attacked the abbey, killing some of the monks, set it on fire and largely destroyed it. In particular they damaged the church to the extent that part of nave collapsed, leaving it permanently shortened, with a Greek cross floor plan.

Piacenza Musei website. In 1810 the nuns were expelled and the convent was used as an armory. Only at the end of the last century, was the church restored. The church has a Greek cross plan surmounted by an octagonal drum on which stands a bronze-pleated dome covered in lead and adorned with a roof lantern, surmounted in turn by the Farnese Lily.

His Annunciation fresco is considered the first true Baroque painting in the city. Through a complex trompe-l'oeil view, it reproduces the interior of a Greek Cross planned church, with Mary ascending to heaven being awaited by the Holy Father in the centre of the dome. Altarpieces from Ansaldo were commissioned for the Cathedral of Segovia. A Deposition is presently housed in the Accademia Linguistica of Genoa.

The building features a facade that is organized into five parts, with three projecting pavilions that are connected by hyphens. The raised basement is faced in rusticated stone while the walls are composed of hollow tiles that are faced with limestone veneer. The plan for the central pavilion is a Greek cross. The portico is arraigned distyle in antis with columns of the Ionic order.

A History of Our Own, Virginia Beach: The Donning Company Publishers. Aquia Church, built in 1757, is unusual among local structures for having been designed on the plan of a Greek cross rather than the more standard Roman Cross design. In addition, Aquia Church has a rare three-tiered pulpit; it has been designated as a National Historic Landmark. The Episcopal church continues to be active today.

The flag of San Esteban, called "The Steven's Flag", features eight yellow stars on a blue field. At its center are white Star and crescent on a black background. On the upper left part is an orange Greek cross. The eight yellow stars refers to the eight zones of San Esteban: Centro North, Centro South, Likod North, Likod South, Cabuntaran, Magol East, Magol West and Folklands.

He modeled the church on Sansovino's Venetian church of San Maurizio. The church consists of a single square nave with a ground plan in the form of an inscribed Greek cross, an apse flanked by two sacristies and an oblong cupola in the center. A flight of stairs leads to the portal, decorated with statues of angels. The facade is divided by four Corinthian columns.

Interior view Very little remains of the original building, partly because of destruction and partly because of poor restorations It is known that the cloister contained two floors. The lower style, Romanesque, dates to the 11th century while the upper, Gothic style, was built circa 1322. Some elements have been preserved and are distributed in various museums. The original church was constructed in the Greek cross plan.

Disguised Pillar The floor plan forms a Greek cross, capped by a cupola. Sixteen Solomonic columns (eight full columns and eight half columns) appear to support the weight of the cupola. The cupola is actually supported by four recessed stone pillars that form the interior chapels. Four smaller altarpieces form part of the disguise for the pillars, which also includes four balconies and four latticeworks.

It is also closely linked to the influence of Art Nouveau. The Modern Serbo-Byzantine architectural style consists of three periods: the first or early period represents a combination of "western-style" with elements of Byzantine architecture. A typical example is the Church of St. George in Smederevo, where the longitudinal basis (characteristic of the West) appears five domes in the form of so-called. "Greek cross".

To its right, in front of the pillar, the icon of St. Sergius of Radonezh, referred to as the icon of Christ with children. The building was built on a Greek cross, covered with a hipped roof. The church has five onion-domes with Orthodox crosses, located on octagonal drums. Side drums at the same time have a bell tower with ten bells cast in Westphalia.

Dome of the mosque Kalenderhane Mosque () is a former Eastern Orthodox church in Istanbul, converted into a mosque by the Ottomans. With high probability the church was originally dedicated to the Theotokos Kyriotissa. The building is sometimes referred to as Kalender Haneh Jamissi and St. Mary Diaconissa. This building represents one among the few extant examples of a Byzantine church with domed Greek cross plan.

The minaret was built by the sultan of Tlemcen, in 1324. The interior of the mosque is square and is divided into aisles by columns joined by Moorish arches. The New Mosque (Jamaa-el-Jedid الجامع الجديد), dating from the 17th century, is in the form of a Greek cross, surmounted by a large white cupola, with four small cupolas at the corners. The minaret is high.

This and similar operations forced the German General Kleemann to instruct his troops that "[they were] living in an enemy country" and reinforce the Aegean garrisons by 4,000 men. These forces remained tied down in place for the rest of the war, being deprived from other fronts where they were mostly needed. In August 1944, Casulli was posthumously awarded the Greek Cross of Valour.

Monument to the Rt. Excellent Nanny , Georgia Brown, The Jamaica National Heritage Trust, 2006, accessed 25 December 2007. The second is dedicated to Samuel Sharpe, the leader of the Christmas Uprising (a.k.a. the Baptist War), a slave revolt that took place in 1831. Sharp's monument is shaped like a Greek cross, to honor his Baptist faith, and its corners are left open as a representation of freedom.

It was first expanded for the first time around 1860 when arms were added to the circular cemetery, giving it the shape of a Greek cross. Again, the cemetery area was enlarged between 1877-1888. It was last extended at the turn of the 20th and 21st centuries. Around 1860 the cemetery was fenced with ceramic shapes according to the design of Henryk Marconi.

Floor plan of the Cologne Synagogue in the Glockengasse Cologne Synagogue in the Glockengasse during the 1860s It was the first example of a central plan over a Greek cross covered by a dome. The four arms of the cross had the same length, as in Byzantine architecture buildings.Künzl, p. 287. Through the association of a cross form with a square room emerged on the corners.

The interior of the building has a Greek cross plan. Because of the orientation of the building to face Ayot House, liturgical east and west do not coincide with geography. The chancel and altar are at the west end of the church. Despite the eye-catching facade, the church's interior is relatively small, having a capacity of about 120, which reflects the population of the parish.

The National Museum of Colombia is a dependency of the Colombian Ministry of Culture. The National Museum is the oldest in the country and one of the oldest in the continent, built in 1823. Its fortress architecture is built in stone and brick. The plant includes arches, domes and columns forming a sort of Greek cross over which 104 prison cells are distributed, with solid wall façade.

The medal is a gold Greek cross. Centered over the cross is a green laurel wreath tied at its base. In the center, on the horizontal arms of the cross, is a golden bar engraved with the word “BRAVERY”. The cross is suspended from a blue ribbon with a red central stripe edged in white and narrow white side stripes, halfway to the edges.

Ahavas Shalom Reform Temple is a historic synagogue building located in Ligonier, Noble County, Indiana at 503 Main Street. It was built in 1889, and is a one-story, red brick building with Gothic Revival and Romanesque Revival style design elements. It has a Greek cross plan and is topped by a steep cross-gabled roof. It features an entrance tower topped by a steep pyramidal roof.

Kuznetsov, A. Тектoникa и Конструкция Центричecких Здaний. Moscow, 1951, pp. 110-114. The interior of the mosaic-decorated church had the shape of a Greek cross or tetraconch, with an aisle encircling this area, while the exterior was a 32-sided polygon which appeared circular from a distance. Some sources claim that the Zvartnots cathedral is depicted upon Mount Ararat in a relief in Sainte-Chapelle in Paris.

The loaf, called a prosphoron, has had stamped in the top of its dough the seal of the Greek letters IC, XC, and NIKA, "Jesus Christ conquers", divided by a Greek cross, and the portion by the seal is cutout as the Lamb. The loaf must be made only from the finest flour, yeast, salt and water. It is formed in two layers to symbolize the hypostatic union.

Audubon Trolley Station is a historic trolley station located at Wilmington, New Hanover County, North Carolina. It was built in 1911, and is a small reinforced concrete shelter in the Mission Revival style. It consists of four reinforced concrete walls radiating out from a central point to form a Greek cross in plan. The replacement roof is covered by rounded terra cotta tile glazed with a green color.

The church was designed in 1834 by De Mattia of Treia with a Greek Cross layout. The areal had since 1269, housed a small Romanesque church dependent on the Rambona Abbey, complete with an adjacent convent and cloister. That church was razed in 1791 to erect one befitting the population increase. The architect Bracci had initially planned a church resembling the Pantheon in Rome, but the ceiling collapsed.

The middle window, also by Gibson and dated from 1872, memorializes James Hunter Cole who died in 1844. At the top of the lancet, a Greek cross surmounted by a crown symbolizes the victory of the cross. The oval center medallion bears a text from Isaiah, "In the Lord have I righteousness and strength". In the bottom panel, the Bible is opened to the text at Isaiah 45:24.

The church takes the form of a Greek cross extending out from a central square into four groin-vaulted chapels. At the point where the arms intersect, the dome rises above a barrel vault supported by four arches. The perimeter was originally adorned by 12 columns, some removed for use in the Palace of Caserta. To the south, there is a square fourteenth-century sanctuary, to the west, the apse.

There are carved oak leaves and foliage on the gables in the Renaissance style. The interior is octagonal in shape and the ceiling is marked with a Maltese cross and a Greek cross. The stained glass windows were created by the J&R; Lamb Studios of New York City. The congregation continued to grow and by 1935 it numbered 1,300 people and was one of the largest congregations in the city.

The , renowned for its Berlin Iron Jewellery (Eisenkunstguss, Fer de Berlin) produced all the parts of the monument. Frederick William III popularised cast iron by using it himself for decoration and table ware. The groundplan of the monument is a Greek cross with its arms being of equal length but shorter than the width of their ends. Its twelve edges are each dedicated to one battle of the Liberation Wars.

The Church of Santa Maria Nuova, 1554, a central square-plan Renaissance church. Santa Maria Nuova, built by Giorgio Vasari in 1554, is a domed church with a centralized Greek cross layout. Inside are four large columns which supports the lantern of the cupola. At the sides the four arms of the cross branch out covered with barrel-vaults, while four small cupolas arise in the spaces of the angles.

The Domesday Book of 1086 lists the village as 'Crawcombe', which is believed to come from the Old English words craw and cumb. The parish of Crowcombe was part of the Williton and Freemanners Hundred. The medieval cross of red sandstone is north west of Holy Ghost Church. The octagonal shaft is high, topped by a Greek cross added in the 19th century, standing on an octagonal base.

His interior displays four free-standing corinthian columns, supporting barrel vaults in a Greek cross pattern, and a coffered central dome. The church is 96 ft long and 60 ft wide. A hoard of coins (now known as the Mary Hill Hoard) was found in a basement near St Mary-at-Hill in the 18th century. The hoard included the only known example of a coin from the Horndon mint.

Subsequently, he built the edifice at his own expense of 95,000 Rupees, under the design of Major Robert Smith. The construction started in 1826, and was completed in 1836. The basic design of Renaissance Revival style church is on a cruciform plan (Greek Cross), with three porticoed porches, elaborate stained glass windows and a central octagonal dome, similar to that of the Florence Cathedral in Italy.No.3. Skinner's Church, Delhi.

The city's old quarter of narrow streets, lined with Medieval and Renaissance buildings, are still surfaced with ancient Roman paving stones. The Byzantine chapel of Santa Maria del Canneto (or St. Mary Formosa) was built in the 6th century (before 546) in the form of a Greek cross, resembling the churches in Ravenna. It was built by Maximianus of Ravenna, then a deacon, but later Archbishop of Ravenna.

This church was built 1910 to designs by George Baines (1852–1934) for the Congregational Union in a perpendicular style using a greek cross floorplan. It features a tall, square tower in the south-west corner and has attached church rooms to the north. Its bulk materials were red brick, stone, white brick and terracotta dressings with coloured tile roofs. In 1941 the new minister of the church was Elsie Chamberlain.

Originally it could seat 4,000 making it Sweden's largest wooden church The interior is in a light bluish color while the exterior is in the traditional Falu red. Its shape is a squarish greek cross, with each cross arm measuring . In front of the main entrance stands the wooden figure of Rosenbom. The church was listed as part of the Karlskrona naval base on the UNESCO World Heritage List in 1998.

Shrine of Santa Maria della Steccata. The Shrine of Santa Maria della Steccata is a Greek-cross design Renaissance church in central Parma, Italy. The name derives from the fence or steccato used to corral the numerous devotees who visited a venerated image of the Madonna. A Nursing Madonna is enshrined within, crowned on 27 May 1601 by a Marian devotee, Fray Giacomo di Forli of the Capuchin order.

The coat of arms of the city was adopted in 1954 by the city council. The coat of arms of Saint-Tite is blazoned thus: Greek cross gules a chief azure point, flanked by a toothed wheel segment money dexter and a gear segment sinister gold, containing a skin tight leather gold dextral and sinistral spruce money, overcoming mountains of sand placed on a terrace or charged with a blue river.

Within a few days of his death, proposals for the mausoleum were being drawn up by the same designers involved in the Duchess of Kent's Mausoleum: Professor Gruner and A. J. Humbert. Work commenced in March 1862. The dome was made by October and the building was consecrated in December 1862, although the decoration was not finished until August 1871. The building is in the form of a Greek cross.

Gerard Moerdijk was the chief architect of 80 Protestant churches in South Africa. Moerdijk adhered to Reformed church tradition and thus his Renaissance trademark, the Greek-cross floorplan, always focused on the pulpit and preacher. In Protestant theology, the word of God is central. Moerdijk created a similar central focus in the Voortrekker Monument, but in vertical instead of horizontal plane, and in African instead of European style.

Domes and Turrets added on the Saint Front Cathedral by Paul Abadie in the mid-19th Century. The Saint Front Cathedral was designed on the model of St. Mark's Basilica in Venice. The layout of the cathedral is in the form of a Greek cross. Its five domes with turrets show a direct architectural relationship with oriental religious buildings, which served as inspiration for the architects of Saint-Front Cathedral.

Detail from a 9th century Byzantine manuscript. Constantine defeats Maxentius at the Milvian Bridge; the vision of Constantine is a Greek cross with written on it. Detail from The Vision of the Cross by assistants of Raphael, depicting the vision of the cross and the Greek writing "Ἐν τούτῳ νίκα" in the sky, before the Battle of the Milvian Bridge. Portuguese coin from the reign of King João V. Kallergis brothers.

The majority of cases in which charges of Article 196 are made do not lead to actual convictions. About 55 prosecutions on average were brought each year between 1999 and 2016. Since Poland is a predominantly Catholic country (around 87% of Poles say they were baptized as Catholics), most Article 196 cases concern that religion. In 2000, Polish artist Dorota Nieznalska juxtaposed Greek cross with male genitalia in an artistic exhibition.

Interior of the church The Church of St. Nicholas is built in the Baroque style. Its façade is divided into three bays at ground level, with a single central bay on the upper part. The church has a Greek cross plan, with a central dome over the crossing supported by four free-standing columns. It has a choir in the apse, which is flanked by a small sacristy.

In 595, she had a oraculum (chapel) built on the Greek Cross plan; of this chapel only the walls exist today. The queen was buried here, in what is now the central left aisle of the church. On the remains of the oraculum, a new church was erected in the 13th century. It was again rebuilt as a basilica, starting from 1300, on a Latin Cross plan with an octagonal tiburium.

By 1601, after an onslaught of the plague, the Filippini left the sanctuary to the Barnabites to complete. This latter order was suppressed in 1861 and the sanctuary passed into the custody of the Cistercian order. The sanctuary has a modified Greek Cross design with three rounded lobes (apse and tribune arms) and a flat façade. Along the nave from the entrance are two chapels on each side.

It is Greek cross-shaped and it was built in Romanesque style. In the interior are three altars. Above the high one, a painting representing Saint Michael Archangel by Giuseppe Toscani (1947) is located. The other altars are dedicated to the Holy Heart, bearing a painting showing Saint Eurosia which has been attributed to Antonio Liozzi from Penna San Giovanni (eighteenth century) and to the Our Lady of Sorrows.

The chapel was partly demolished, leaving only the central part as an open pavilion-like domed structure. The building is partly overgrown by ivy. The surrounding garden spaces of the two axes, creating a Greek cross, are confined by tall yew hedges and have a grass surface. Embedded in the lawns of the cross arms are narrow, rust coloured paths made of oxidized iron plates, flanked by rows by cherry trees.

Built in the last quarter of the 14th century, it was probably designed by John Lewyn. It was laid out in the form of a Greek cross and originally it was crested with a battlement, and perhaps decorative statues. Around the top of the building survive carvings of angels carrying shields. A large lion representing the Percy's coat of arms overlooked the town from the north side of the keep.

The church was built in the late 15th century by the guild of the conciari and calzolari. The main plan of this church has been retained, including it Greek-cross plan despite reconstruction in the 17th century. The façade is divided in to orders with two lateral bell-towers. The reconstruction of the façade was attributed to Domenico Antonio Vaccaro, but the only documents known mention works by a Giuseppe Astarita.

Construction of the present church began in 1706 using designs by Giovanni Battista Nauclerio. The site had once held a small chapel or oratory dedicated to San Demetrio. And in 1683, Somaschi order acquired an adjacent palace, Palazzo Penna, where they housed the monks, and decided to build the adjacent church. The layout was that of a Greek Cross, and interrupted in 1725 due to lack of funds.

The cross-shaped central part with nave arcades was added around 1420–36 (the original chancel was straight). The annexes gave the temple a shape of a Greek cross for the first time. The expansion was re-consecrated by Cardinal Zbigniew Oleśnicki in 1436. In spite of various calamities (1462, 1476, 1655), the Church of St. Francis of Assisi and the adjacent Monastery experienced the most destructive fire only in 1850.

It is the fourth- tallest skyscraper in La Défense after Tour First, Tour Total and Tour Areva. Its ground shape is in the form of a Greek cross. In 1972, during construction, a protest campaign opposed the building of Tour Gan, which was deemed too tall and thus too visible from the historical center of Paris and particularly from the Champs-Elysées. Protesters demanded a reduction in height.

The church is on the Greek Cross plan: it therefore has the same length and width at the transept. At about , it is one of the largest edifices with a central plan in northern Italy. The central dome, with an octagonal plan, is tall, with a total weight of some 20,000 tons. It is the fourth in Italy in size, after St. Peter's Basilica, the Pantheon and the Cathedral of Florence.

A typical Latin cross A typical Greek cross The Christian cross, seen as a representation of the instrument of the crucifixion of Jesus, is the best- known symbol of Christianity. It is related to the crucifix (a cross that includes a corpus, usually a three-dimensional representation of Jesus' body) and to the more general family of cross symbols, the term cross itself being detached from the original specifically Christian meaning in modern English (as in many other western languages). The basic forms of the cross are the Latin cross with unequal arms (✝) and the Greek cross (✚) with equal arms, besides numerous variants, partly with confessional significance, such as the tau cross, the double-barred cross, triple-barred cross, cross-and-crosslets, and many heraldic variants, such as the cross potent, cross pattée, cross moline, cross fleury, etc. For a few centuries the emblem of Christ was a headless T-shaped Tau cross rather than a Latin cross.

It has a Greek cross ground plan with three naves, divided by Corinthian columns and pilasters. It has an enormous crypt nine metres high. The sacristy of the cathedral houses a painting depicting the Apparition of the Virgin Mary near the Convent of Forano to the Blessed Pietro da Treia and the Blessed Corrado da Offida by Giacomo da Recanati. In the church itself is a bust of Pope Sixtus V by Bastiano Torrigiani.

The National Basilica, located in Aparecida, São Paulo, Brazil In the mid-20th century, as the popularity of Our Lady of Aparecida grew, the construction of a much larger building to shelter the image became necessary. In 1955, work on the present Basilica of the National Shrine of Our Lady of Aparecida was begun. Architect Benedito Calixto designed a building in the form of a Greek cross. It can hold up to 45,000 people.

A 2006 view of the Royal Mausoleum with the Royal Burial Ground in the foreground It was built by the architect A. J. Humbert, based on designs by Professor Ludwig Gruner. The mausoleum is in the form of a Greek cross, to a 70 ft diameter, with a central octogon of 70 ft height. It was designed in the Romanesque style. The mausoleum is built from Portland stone and granite; Australian copper covers the roof.

The schism between the churches of Constantinople and Rome was reflected in architecture. The Greek cross and domes of Byzantine architecture were found in areas of Byzantine cultural influence. The domed church of San Giovanni a Mare in Gaeta may have been built in the second half of the 11th century. The earliest existing large French dome is believed to be the pendentive dome built by 1075 over the crossing of the .

Scale model of Sant Pau del Camp, at the Catalunya en Miniatura park The Romanesque monastery has a small cloister, built in the 13th century. It features lobular arcades supported by double columns, whose capitals are decorated by biblical and daily life scenes, animals, monsters and vegetable motifs. The abbots' house was built in the 13th-14th and early 18th century. The church is on the Greek cross plan, with a single aisle.

George Awsumb attended high school in Whitewater, graduating in 1898 as the youngest member of his class. He attended the University of Wisconsin in Madison for the 1900-1901 academic year to study engineering. He later matriculated at the University of Illinois in Champaign to study architecture, and completed his Bachelor of Science degree in 1906. His senior thesis formulated a neoclassical design for a new Wisconsin state capitol building using a Greek- cross plan.

The first episode represents the expulsion of Joachim, the father of Mary, from the Temple of Jerusalem. A ceremony is taking place in which several figures are carrying lambs for sacrifice. However, Joachim was banned from attending due to his alleged sterility. Ghirlandaio set the scene in a sumptuous loggia of Greek cross plan, with a sequence of arches in the background and an octagonal altar in the middle, where the sacrificial fire is lit.

The church is characterized by opposed apses, an unusual feature shared with the tenth-century church of San Cebrián de Mazote (also constructed during the apogee of the Kingdom of León). The church's decoration is a mixture of Celtic elements, including lunar and astral symbols; Byzantine influences seen in its Greek-cross plant; Arab elements, especially a small umbrella roof dome which covers the principal altar; and Mozarabic influence, seen in its famous horseshoe arches.

Gjerpen Kirke The church has a long history and is considered a national treasure. The church and its inventory is officially preserved by law as are all buildings built before the Protestant Reformation of 1537. The extended parts built after this time is also preserved. The church is a Romanesque style with a cruciform plan (Norwegian: krossplan) church after the later additions, meaning it main top section is shaped like a Latin or Greek cross.

Panagia Pantobasilissa or Arched Church as it is called in the region is known to be the first church where the walls were decorated with frescoes. It is indicated in some handwritten scripts that the church was dedicated to Panagia Pantobasillissa (Mary Queen of All). The church is based on a Greek cross plan to in the east and west directions. Although the building is not used currently it has still survived.

The church is located on the site of a church founded by Matilda of Canossa, and restored in 1112. Some epigraphs cite an even more ancient church, from the late 4th-century, at the site. Reconstruction of the medieval church began in mid 1500s, starting with the apse, transept, and presbytery, and in 1615 with expansion of the nave and addition of side altars. In 1664, the church still had a greek-cross layout.

The ground plan is shaped somewhat like a Greek cross; the arms are 38.5 m and 34.2 m long and are each 17 m wide. There are niches on the outside which contain statues of the four Evangelists by Francuß Bingh. The stone balustrades were decorated with 28 figures, also by Bingh, depicting the apostles, prophets and other Biblical people. The interior of the church is decorated with ornamental stucco (cartouches, rocaille).

On the side of the epistle, it presents two adjoining chapels in the 18th century, the chapel of the Holy face and Chapel communion this last of greek cross with a dome on pendentives. The construction of the church is made with masonry walls and stalls in the buttresses and corners. Eastward of the set is the courtyard of services around which distributed the different rooms for the operation of the monastery.

Bottiau also carried out eleven carvings on the capitals of the belfry columns, these representing the various units involved in the war. Bayonets represent the Infantry, Cannon the Artillery, Tanks represent the Tank Corps, Crossed Heavy Machine Guns the Machine Gun Units. We then have propellers representing Aviation units and artillery rounds for both the Artillery and Ordnance. The Engineers are represented by a plane-table, the Medics by a Greek Cross and Caduceus .

Rock Chapel Goreme (Elmalı Kilise) Elmalı Kilise (or the Apple Church) a smaller cave church. Was built around 1050 and has carved into four irregular pillars the sign of a Greek cross with these pillars support its central dome. Restoration on the church was completed in 1991, but the frescos continue to chip off, revealing a layer of earlier paintings underneath. The church's paintings depict scenes of the saints, bishops, and martyrs.

During the Árpád period the village belonged to the Aba family. It may have been one of that family's principle seats, given that a Hungarian king was buried in the church. The original church in the form of a Greek cross was built in the 11th century; it contained the tomb of King Samuel Aba of Hungary. The building was later transformed into a three-nave church, but the original crypt was preserved.

The current version of the Benemerenti medal was designed by Pope Paul VI. The medal is a gold Greek Cross depicting Christ with his hand raised in blessing. On the left arm of the cross is the tiara and crossed keys symbol of the papacy. On the right arm is the coat of arms of the current Pope. The medal is suspended from a yellow and white ribbon, the colors of the Papacy.

According to Bruce Brooks Pfeiffer (Wright scholar and original archivist of the Frank Lloyd Wright Archives), "When he received a commission for a church for the Milwaukee Hellenic Community, Wright consulted his wife, who was brought up in the Greek Orthodox faith, about the predominant symbols of the church. 'The cross and the dome,' was her reply." These two architectural forms dominate the design. The floor plan itself is a Greek cross.

These openings have corresponding transom lights. The first floor tripartite window arrangement and high level lancet, as well as the gable edge detailing, found on the eastern wing of the building, are also featured on this western gabled section. The double storeyed verandah, which dominates the western facade of the building, is of stone construction on the ground floor and timber construction above. Vermiculated stone columns have carved Greek Cross motifs in their capitals.

The plan is based on a Greek cross, with a very short nave and two transepts of the same length. The presbyterium has an integral semi-circular apse. There is a very low central octagonal drum dome which was never completed but which was capped by eight tiled roof pitches which meet at the apex without a lantern. The other roofs are also pitched and tiled, and the walls are of brick.

The Latin cross plan, common in medieval ecclesiastical architecture, takes the Roman basilica as its primary model with subsequent developments. It consists of a nave, transepts, and the altar stands at the east end (see Cathedral diagram). Also, cathedrals influenced or commissioned by Justinian employed the Byzantine style of domes and a Greek cross (resembling a plus sign), with the altar located in the sanctuary on the east side of the church.

George D. Mason and Zachariah Rice modeled the First Presbyterian Church after Henry Hobson Richardson's Trinity Church in Boston. p. 110. The church, in the Richardsonian Romanesque style, is made from rough-cut red sandstone, with the floorplan in the shape of a Greek cross. Masonry arches support a red sandstone tower with a slate roof and turrets at each corner. The stained glass windows of the church are exceptional, with many of Tiffany glass.

St. Matthew’s church was built in the Neo-Romanesque style, a contrast to the nearby Neo-Gothic Roman Catholic cathedral. The church plan is based on the Greek cross, topped with a reinforced concrete dome with a diameter of 26 metres. The upper section of the tower is octagonal, and the spire reaches the height of 80 metres. There are large rose windows with stained glass delivered by the Breslau glassmaker Adolph Seiler.

Few remains can be traced of the earlier paleochristian basilica, as Piacenza was razed by Totila in 546, during the Gothic War. The crypt, on the Greek cross plan, has 108 Romanesque small columns and is home to the relics of Santa Giustina, Saint Justina of Padua, who was co-patron of Piacenza from the ninth century; to her was dedicated the first cathedral, Domus Justinae, which collapsed in 1117 after an earthquake.

The church layout is in a Greek cross with a cupola and three chapels. In the main altar is a replica of the icon of the Madonna della Quercia di Viterbo. The ceiling has a painting of the Sacrifice of Isaac by Sebastiano Conca. To the right of the entrance is a depiction of the Baptism of Christ by Pietro Barbieri and to the left of the entrance, a Crucifixion by Filippo Evangelista.

The Rothko Chapel is a non-denominational chapel in Houston, Texas, founded by John and Dominique de Menil. The interior serves not only as a chapel, but also as a major work of modern art. On its walls are fourteen black but color- hued paintings by Mark Rothko. The shape of the building, an octagon inscribed in a Greek cross, and the design of the chapel was largely influenced by the artist.

The award is a silver Greek cross with wide arms, 42×42 mm. The obverse shows barbed wire and camp poles; the year 1939 on the left, and 1945 on the right arm. In the center there is a red enameled triangle with the letter P, as worn by Polish nationals imprisoned in the camps. The reverse bears the inscription "PRL / WIĘŹNIOM / HITLEROWSKICH / OBOZÓW KONCENTRACYJNYCH" (People's Republic of Poland to prisoners of Nazi concentration camps).

The most important part of the monastery complex is the church to its north. The church comprises four freestanding closed aisles based on the Greek cross plan; in the northern aisle of the cross there is a niche with two tombs. To the west there are two entrances covered with a cradle vault. It is assumed that at least three different masters worked on the paintings found on the walls of the church.

According to the pastoral visit of Bishop Bartolomeo Rull, the chapel was built on the design of a Greek cross plan and with a dome. The facade is plain, with strategically placed architectural feats. Flanking either side of the facade, there are two flat, austere-looking Doric pilasters which are topped by a blank entablature. The main portal is surrounded with a stone moulding with emphasis on the two corners above the door.

An earlier 14th century church at the site was rebuilt in the late 18th century by the architect Pietro Maggi. The layout is that of a Greek Cross with a central dome with ribbed arches. The simple brick façade is flanked a single bell tower; it contains a marble plaque dedicated to those fallen during the war. The interior, including the cupula, was frescoed in the 1930s by Guglielmo Ciarlantini with decorative symbols and grotteschi.

Panagia Pantobasilissa (, "Panagia the Queen of All") or Arched Church () as it is called in the region is known to be the first church whose walls were decorated with frescoes. It is indicated in some handwritten scripts that the church was dedicated to Panagia Pantobasillissa. The church is based on a Greek cross plan to in the east and west directions. Although the building is not used currently it has still survived.

Construction started in 1755 and it included tall corinthian columns and an imposing dome. The floor plan of this church was a greek cross plan, meaning is have a central mass and four arms of equal length. The dome is held up by concealed flying buttresses and light vaulting produced via stone. It could be said that the Abbey of Saint Genivieve was influenced by St. Peter's Basilica, and St. Paul's Cathedral.

The building was made of brick having the walls with a breadth over one meter, the architectonic style being the one of "Greek Cross". The architecture combines more style so that the experts can not, two on the front side with a 47 meters height, the most imposing one being that of the middle of the church, i.e. the cupola. The natives made many material sacrifice for the building of the church.

Because the original contractors went out of business, the new courthouse was not completed until 1847. After a quarter century, the county government decided that a third courthouse was needed. A budget of $25,000 was reserved for the construction, architect John C. Cochrane was chosen to design it, and the cornerstone was laid in July 1874. Its overall style was Italianate, and the plan was a stretched Greek cross, east to west and north to south.

Therefore, the church is also a central building which follows the Greek cross. During the Second World War the Herrenhäuser Church was not destroyed but an aerial mine exploding closely shattered the glass of the windows. Today’s colored altar window, designed by O. Brenneisen in 1946, shows Jesus and his disciples, which is the same motive the earlier window had. The glazing on the north and south side of the church interior is plain and uncolored.

Lefteris Fafalis () (born 17 February 1976 in Munich) is a West German-born, Greek cross country skier who has competed since 1995. Competing in four Winter Olympics, he earned his best finish of 29th in the individual sprint event at Turin in 2006. Fafalis carried the Greek flag at the opening ceremonies of those same games. His best finish at the FIS Nordic World Ski Championships was 18th in the team sprint event at Sapporo in 2007.

American designers settled on a modified version of the Delphin's cruciform arrangement (a Greek cross viewed from behind); they rejected the alternative of an x-arrangement for its complexity, but it was accepted and used by the Dutch, Swedish, Australian and German navies among others, for its ability to snuggle closer to a shallow seabed without striking the rudder on the sea floor. The Soviets often repeated a conventional arrangement, similar to that of the Type XXI U-boat.

At the time, its early Christian character had been completely revamped as a Byzantine church with a plan in the form of a Greek cross. Originally it was dedicated to San Severino and only after the death of San Costanzo, in the seventh century, was it renamed. There were major renovations in 1330 when Count Giacomo Arcucci added a chancel in the typical Gothic style. In 1560, the church lost its status as a cathedral to Santo Stefano.

To the west is the tower, again flanked by a north and south narthex. Wren spanned the square space by a barrel vault in a Greek- cross plan, with a dome at the centre, supported on four columns. If Henry Bell drew his inspiration from any one of Wren's churches, this would be the one. The barrel-vaulting though in All Saints' is much flatter than in St Mary-at-Hill, which has semi-circular vaulting.

The footprint is similar to a Greek Cross, and the gable roof projections, covered with asphalt, intersect at the center of the "cross". The entrance portico contains Ionic columns under an entablature, with a paneled wooden door behind a transom, and is accessed by a concrete-upon-brick stoop. At the entrance portico above the second story is a small lunette window. The windows around the house are six-over-six, double-hung, with brownstone windowsills.

General view of interior. Designed by Tylman Gamerski, the church consists of a large dome atop a basic Greek cross design. The facade is baroque, although the interior is completely modern, because very few of the original furnishings of the church were preserved. Inside, the most valuable element of the original church's decoration are the preserved fragments of a brilliant tomb monument of Maria Karolina Sobieska de Bouillon carved by Lorenzo Mattielli in white and black marble in 1746.

The Chapel of São Frutuoso (), also known as the Chapel of São Frutuoso of Montélios () or the Chapel of São Salvador of Montélios (), is a pre- Romanesque chapel in the civil parish of Real, municipality of Braga. It is part of group of religious buildings that include the Royal Church, and originally built by the Visigoths in the 7th century, in the form of a Greek cross. Since 1944, it has been classified as a National Monument ().

Built in the Greek Cross layout typical of churches of Byzantine cult (11th century), the church, originally dedicated to St Catherine of Alexandria, was reconsecrated to St Leo in the 13th century by bishop Guglielmo di Bisignano. The layout has elements of both Romanesque and early Gothic architecture. For example, the bell-tower has mullioned windows. In the 17th century during the Sanseverino rule of the region, the church was heavily ornamented in a Baroque fashion.

First Baptist Church is a historic Southern Baptist church at E. Oliver and N. Swenson in Stamford, Texas. Built in 1908, the church is a large, domed structure built on a Greek Cross form and covered with buff-colored brick. It was listed on the National Register of Historic Places on September 24, 1986, and designated a Recorded Texas Historic Landmark in 1989. A two-story educational building was added in 1932 and another educational wing in 1960.

Initially, this was meant to be flanked by two bell-towers, but these were never built. The interior layout is that of a Greek-cross with a central dome. The interiors are decorated with monochrome painted stucco. The altarpieces include a Marriage of the Virgin (1731, main altar) painted by Carmine Spinetti, while the canvases om the lateral altars depict a Crucifixion by Benedetto Mora and a San Giuseppe Calasanzio, founder of the order of the Piarists.

The Martel College colors are representative of the Greek flag and the building's architecture. The blazon of the Greek flag is "Azure, four bars Argent; on a canton of the field a Greek cross throughout of the second." While azure often associates with a deeper blue, Martel College uses a lighter tincture of azure known as bleu celeste or "sky blue". Also, the argent used by the college favors a bright, reflective white instead of the more silvery tincture.

A Greek cross (all arms of equal length) above a saltire, a cross whose limbs are slanted A cross is a geometrical figure consisting of two intersecting lines or bars, usually perpendicular to each other. The lines usually run vertically and horizontally. A cross of oblique lines, in the shape of the Latin letter X, is also termed a saltire in heraldic terminology. Throughout centuries the cross in its various shapes and forms was a symbol of various beliefs.

The architect Andrei Caridi was assisted by the Greek master builders Atanasie and Gheorghe. Biserica Bărboi, crestinortodox.ro The resulting church resembles certain Athonite buildings in form and dimension, Biserici şi mănăstiri , Iași City Hall and is the city's only church in the shape of a Greek cross. Biserica Bărboi, Iași City Hall Tourist Promotion Bureau The church was shaken by the 1977 earthquake, and from 1980–88, the exterior was restored and the interior paintings and furnishings cleaned.

The street in 1944 was almost completely destroyed by the Nazis.W. Monkiewicz, Białystok i okolice, KAW, Białystok 1986, s. 49. Moving westwards is the Cristal Hotel, the first real post-war hotel in Bialystok in Poland, and located the intersection with Liniarskiego and Malmeda streetsSzlakami zabytków – Ulicą Lipową... On the other side of Liniarskiego Street stands the Orthodox Cathedral of St. Nicholas, built in 1843–1846. It is a classicist building, built on the plan of a Greek cross.

Palacio de Cristal The Palacio de Cristal ("Glass Palace") is a conservatory located in Madrid's Buen Retiro Park. It was built in 1887 on the occasion of the Exposition of the Philippines, held in the same year, then a Spanish colonial possession. The architect was Ricardo Velázquez Bosco. The Palacio de Cristal, in the shape of a Greek cross, is made almost entirely of glass set in an iron framework on a brick base, which is decorated with ceramics.

The basilica has a privileged view of the whole city and can be seen from anywhere in the city. The Basilica of St. Joseph the Worker was initially designed to be a small replica of St. Peter's Basilica in the Vatican, in Rome. But for some reasons like the lack of money it has only the shape of a Greek cross. The basilica has modern architecture and inside has motifs of the Renaissance and Baroque period.

It was initially built in 1496 for the Order of Canons Lateran. The church plan as we see today was based on initial designs of Giovanni Antonio Amadeo, but realized as a centralized greek cross design by Giovanni Battagio. The architect Cristoforo Lombardo designed the large dome to replace the prior crumbling structure. By the late 16th century, under the design of Martino Bassi, the nave acquired a longer longitudinal axis, conforming with the structure of post-Reformation churches.

Gustaf Vasa Church () is a church located in the Vasastaden district of Stockholm, Sweden. Inaugurated in 1906 and named after 16th century King Gustav Vasa, it was designed by architect Agi Lindegren in the Baroque Revival style. Situated between two busy avenues partially lined with trees, its dome rises above the nearby Odenplan plaza. The floor plan is in the shape of a Greek cross and seats 1,200 people, making it one of the largest churches in Stockholm.

As explained by an inscription in the church written by Ambrose himself, the church's plan was on the Greek Cross with apses on the arms, a feature present only in the Church of the Holy Apostles in Constantinople. In front of the basilica was a porticoed atrium. Under the basilica's altar were housed the relics of the Apostles, which are still present. In 397, when the body of St. Nazarus was discovered, a new apse was created.

The church, in Romanesque-Gothic style, dates back to the first half of the XII century. The interior is divided into three naves, of which the central one has a trussed ceiling, while the lateral ones have a cross. The plan became a Greek cross with the addition of two side chapels in the 1700s. The crypt, like the bell tower, was added in the 14th century and is as large as the church above, with brick arches and cross vaults.

Construction started in 1603 on the site of the old parish church of San Salvatore, expanded during the 11th century by Pisan workers. Usimbardo Usimbardi, the first bishop of the new Diocese of Colle di Val d'Elsa created in 1592, entrusted the design of the new cathedral to the architect Fausto Rughesi. The building has a Greek cross plan with a nave and two aisles, divided into four bays by rectangular piers. The transept is closed by two large side-chapels.

Julia de Wolf Addison: Arts and Crafts in the Middle Ages Medieval Histories Twelve towers and twelve gate-houses alternate along the outside of the hoop. The layout of the towers is a Greek cross with four apses (alternately rounded with domed roofs and square with pitched roofs) and a doorway. The upper parts of the towers have a narrower form, extending above the candles on the hoop and topped with large balls. Small statues or lamps probably originally stood inside these towers.

South door Detail of south door Portrait head on right of south door The chief entrance is a south-facing porch with an inner and outer arch. The outer arch is ornamented with cable moulding and foliage. On one of the spandrils of the inner arch, which is made of Caen stone, is the monogram i h c, while on another can be found an encircled Greek cross. An arched west doorway includes carved moulding and carved heads are used as label stops.

Each cow a person owned cost $1.00. People who failed to pay their bill were subject to a $50.00 fine and 90 days in the county jail. During the construction, hoping to protect themselves from injury, the builders made at least four crosses in the stonework, one over the west door, an elaborate but difficult to find Greek Cross on the east side and two inside the water tower. It was completed on February 3, 1890, at the cost of $21,368.

The Greek Cross, flanked by the Greek letters "ICXC NIKA" which means "JESUS CHRIST PREVAILS". In classical Christian usage, the term orthodox refers to the set of doctrines which were believed by the early Christians. A series of ecumenical councils were held over a period of several centuries to try to formalize these doctrines. The most significant of these early decisions was that between the Homoousian doctrine of Athanasius and Eustathius (which became Trinitarianism) and the Heteroousian doctrine of Arius and Eusebius (Arianism).

The price was 1,375,000 francs, to be paid in four instalments until 1924. At the time, large jewelry had not excited Marie's interest; she preferred to wear a Greek cross or, when she attended the Paris Opera, her pearls. However, the sapphire sautoir (jewel chain) was an ideal match for the sapphire tiara she had bought from Russian exile Grand Duchess Vladimir. She wore them both at her coronation receptions and when sitting for her portrait by Philip de László.

It continued to be used into the seventeenth century as at Weem (1600), Anstruther Easter, Fife (1634–44) and New Cumnock (1657). In the seventeenth century a Greek cross plan was used for churches such as Cawdor (1619) and Fenwick (1643). In most of these cases one arm of the cross would have been closed off as a laird's aisle, meaning that they were in effect "T"-plan churches. Larger churches often had a steeple, as at Tron Kirk, Edinburgh (1636–47).

The front of the Mercat Sant Antoni The Mercat de Sant Antoni is one of the largest markets in the city of Barcelona. It was built according to Ildefonso Cerdà’s original, nature-based city plan (Greek-cross style plan inset in a larger square) by Antoni Rovira i Tras in 1882 in a triangle of Eixample blocks in between El Raval and Poble Sec. The metal structure covers an entire block of the Raval. Items sold include fresh produce, meats and fish.

The naveThe brass baptismal font was originally installed at a church within the Diocese of Viborg. That church had closed before Hadsund Church was built, and the baptismal font was moved there before the church opened in 1898. In 2007, it was fitted with a new granite plinth shaped like a greek cross to reflect the architecture of the building. The altarpiece was donated before the church's dedication by Magdalene Kjellerup, who was then the owner of the Visborggaard Estate.

The chapel was built from 1681 to 1683 on a ridge running north-east out of Bad Camberg, overlooking the area and the town. It was initiated by the Hohenfeld family, which also built a ' with stations of the Cross around 1700, leading from Camberg up to the chapel. Interior, September 2020 The chapel was first built as an octagon located where the choir is now. It was expanded in 1725 to a symmetrical central building (Zentralbau) shaped like a Greek cross.

The structure of the church is in a Greek Cross, with four large windows, each representing respectively the Eucharistic symbols of the body and blood, Saint Athanasius, and the Holy Spirit. The main altar is semicircular, and of granite with the Last Supper in the background. Left of the altar is a picture of the eighteenth-century painting of the Assumption, and on the right is a baptismal font with travertine dome, closed by a cover bronze statue of John the Baptist.

An ambulatory runs around this platform and into the chancel and apse, both added in the 14th century. An additional ambulatory, in the form of a porch, runs around the exterior of the building, sheltered under the overhanging shingled roof. The floor plan of this church resembles that of a central plan, double-shelled Greek cross with an apse attached to one end in place of the fourth arm. The entries to the church are in the three arms of the almost-cross.

San Lazzaro is a 19th-century, Roman Catholic church located on Via Aurelia number 298 in the neighborhood of San Lazzaro di Sarzana, just south-east of Sarzana, region of Liguria, Italy. The parish church happens to be located, for historical reasons, within the region of Tuscany. Panoramic of San Lazzaro, with the parish church The parish church has a Greek-cross plan and its façade has some classical features. The large wooden portal is a remarkable 19th-century manufacture.

The façade lunette over the portal was frescoed by Evaristo Cappelli, and depicts the Resurrection of Christ and the Nation takes the dead soldiers in its arms. The layout of the church is a Greek cross, rising in the dome with a diameter of 15.8 meters with four octagonal towers at the corners. The stained glass rose window was designed by Guglielmo Da Re of Milan, and others depicting the four evangelists by Benedetto Boccolari. The crypt is accessible by a central staircase.

The building has a Greek cross floorplan with rectangular arms and a central cupola; both the cupola and the arms of the chapel are decorated with arch reliefs. The chapel shows clear influences of Byzantine buildings like the Mausoleum of Galla Placidia in Ravenna. After 711, in the period of dominance of the Iberian Peninsula by the Moors, the Christian Kingdom of Asturias (c.711–910), located in the Northern part of the peninsula, was a centre of resistance (see Reconquista).

Occasionally, the basilicas and the church and cathedral planning that descended from them were built without transepts; sometimes the transepts were reduced to matched chapels. More often, the transepts extended well beyond the sides of the rest of the building, forming the shape of a cross. This design is called a Latin cross ground plan, and these extensions are known as the "arms" of the transept. A Greek cross ground plan, with all four extensions the same length, produces a central-plan structure.

As at Monza, it was discovered within the main altar, adapted as a reliquary for a piece of bone, and near a glass vial similarly used. It is made of an iron alloy, is rather larger than most at 7.5 cm high and 5.7 cm wide, and has two handles at the neck. The decoration is a Crucifixion on the obverse, and Greek cross on the reverse.Arad, 59–60 This may be later than the Monza and Bobbio ampullae by some considerable time.

100 visitors, with additional space on the choir gallery for another 20. The interior is defined above all by the staggered windows in the chancel, but also by the ceiling, which is designed like an abstract starry sky, with Greek cross-shaped “stars” covered in gold leaf. This decoration is an echo of traditional church architecture, as a reminder of the promise of God to Abraham that his people would be as numerous as the stars in the night sky ().

The motto of the Hellenic Army is (Eleútheron tò Eúpsychon), "Freedom Stems from Valour", from Thucydides's History of the Peloponnesian War (2.43.4), a remembrance of the ancient warriors that defended Greek lands in old times. The Hellenic Army Emblem is the two-headed eagle with a Greek Cross escutcheon in the centre. The Hellenic Army is also the main contributor to, and "lead nation" of, the Balkan Battle Group, a combined-arms rapid-response force under the EU Battlegroup structure.

Other agencies housed in the building complained of poor planning and shoddy construction which resulted in crumbling plaster, broken plumbing and flooding. The new building was designed in the Beaux-Arts style by architect Henry Ives Cobb. The floorplan was a six- story Greek cross atop a two-story base with a raised basement. The building was capped by a dome at the crossing that held an additional eight floors of office space in its drum for a total of 16 floors.

In 1966, St. John's Church was placed on the National Register of Historic Places by the U.S. Department of the Interior, and is designated a contributing property to the Lafayette Square Historic District and Sixteenth Street Historic District. The church building was designed by Benjamin Latrobe, architect of the U.S. Capitol Building, and is constructed of stucco-covered brick, taking the form of a Greek cross. In 1820, the portico and tower were added. The bell in St. John's steeple weighs nearly .

Church of il Foppone from inside courtyard. From the courtyard, the architecture seems dour except for the domes of the church. The interior of the church in Greek Cross layout, is decorated by Giovanni Manfredini with Grotteschi, an ornamentation then utilized in cemetery churches due to their prevalence in Roman catacombs. A guide from 1820 cites the first altar on the right of the entrance has a Caravaggesque canvas depicting Christ healing the blind man, by Pietro Martire Neri or Negri.

The plan of the church is on the Greek cross, with, at the centre, a dome surmounted by a lantern. Four smaller domes, not visible from outside, are at the inner angle of the cross. The façade has Doric columns on the lower part and Ionic columns on the upper one. It is built of laterite, with white Veronese marble insets. The central portal has a marble bas-relief portraying the Vergine della Ghiara, (1642). The side portals were executed in 1631.

The complex consists of several caves, the largest of which appears to have a shape of a basilica with three naves with side corridors that form a cross in the shape of a Greek cross, and some tunnels. Testimony of the prehistoric age is also the cave of Pietrosa, the cavity formed by a single large underground environment in which it is a human settlement since the Bronze Age and the Helladic period, as shown by the pottery found in it.

The church has a typical Plateresque exterior, featuring rich decorations. It has three orders with columns, and a central arch with the coat of arms of the Kingdom of Spain and, below, a rhombus with the ensign of the County of Barcelona; these are flanked by four columns symbolizing the Pillars of Hercules. Finally, the upper order has four garlands with busts of Kings of Spain. The interior is on the Greek Cross plan, with some traces of 17th century frescoes.

The 1940–1945 Military Combatant's Medal was a 38mm wide bronze Greek cross with semi circular protrusions filling the gaps between the arms up to 3mm from the cross arms' ends. The obverse bore the relief image of a "lion rampant" at the center of the cross. The reverse bore a vertical broadsword bisecting the years "1940" and "1945" inscribed in relief. The medal was suspended by a ring through a suspension loop from a 36mm wide silk moiré ribbon.

St Andrew's Church is the parish church of Alfriston, East Sussex, England. This Grade I listed building was built in the 1370s and is also known as the 'Cathedral of the Downs'. It sits on a small, flint-walled mound, indicating that it was the site of a pre-Christian place of worship, in the middle of 'the Tye' (the local village green), overlooking the River Cuckmere, and is surrounded by the flowered graveyard. It is built in the form of a Greek cross.

The term Greek cross designates a cross with arms of equal length, as in a plus sign, while the Latin cross designates a cross with an elongated descending arm. Numerous other variants have been developed during the medieval period. Christian crosses are used widely in churches, on top of church buildings, on bibles, in heraldry, in personal jewelry, on hilltops, and elsewhere as an attestation or other symbol of Christianity. Crosses are a prominent feature of Christian cemeteries, either carved on gravestones or as sculpted stelae.

The Church of St Mary the Virgin Stratfield Saye House was built around 1630 as the Pitt family home, from fortunes made by Thomas "Diamond" Pitt. In the late 18th century the family were closely related to the famous Prime Ministers of Great Britain, William Pitt the Elder and William Pitt the Younger. It has been the home of the Dukes of Wellington since 1817. The parish church, near the house, is an unusual domed Georgian building with the plan of a Greek Cross.

View from the main crossing dome to the eastern apse The interior is based on a Greek cross, with each arm divided into three naves with a dome of its own as well as the main dome above the crossing. The dome above the crossing and the western dome are bigger than the other three. This is based on the Church of the Holy Apostles in Constantinople. The marble floor (12th century, but underwent many restorations) is entirely tessellated in geometric patterns and animal designs.

The historic 1910 church was designed by renowned architect Bernard Ralph Maybeck (1862–1957), in a primarily American Craftsman style, with Byzantine Revival, Romanesque Revival, and Gothic Revival style elements.Friends of First Church Berkeley: Interior The church is widely considered one of Maybeck's masterpieces.Maybeck and His WorkBerkeley Landmarks – First Church of Christ, Scientist The basic plan is that of a square or Greek cross, with two pair of great crossed trusses spanning the central space overhead. In 1929 a Sunday School addition was added to the Church.

On the interior, its stucco plant motifs in the domes, with paintings in vaults of angels, plant motifs and curtains, are its most outstanding features. Built with rubblework and ashlar stone, it has three naves, the middle one being the most outstanding due to its size. The Hermitage is one of the most important Baroque temples of the Spanish Murcia region and its volume is one of its main values. After construction it was consecrated in 1758 and its ground plan is shaped like a Greek cross.

One story tall, the hall is an octagonal structure, typical of Ohio floral halls from the period; its plan is essentially a modified Greek cross. The doors and other parts of the facade bear Stick-style detailing. In 1982, the former floral/needle hall was listed on the National Register of Historic Places, qualifying both because of its architecture and because of its place in local history. It is one of five National Register-listed locations in Bowling Green, and one of thirty-one in Wood County.

All of the icons and religious artifacts were donated by wealthy Russians and Imperial government officials in the early 19th century; those saved from the fire were reinstalled in the new cathedral in the same order that had existed in the original building. Its frontage is in the form of a Greek cross with a bell tower, which was "neither Byzantine nor Gothic". Similar churches are stated to exist in St Petersburg, in an architectural style dated to late 18th century and early 19th century.

The classical Greek cross-form interior is dominated by the central dome, which is painted with a pattern of gold stars on a dark blue background. Regularly spaced Corinthian pilasters and plaster-cast cornices line the walls of the nave and the sanctuary. The nave and transepts are lined with oak pews, and focused on the shallow chancel at the west end. This contains the high altar, behind which, in a pedimented aedicule, is a painting of the incredulity of St Thomas by François Dubois.

Visitors enter the church through the existing tower into a barrel vaulted nave. At the centre is a dome, supported on four Ionic columns, which is lit by a lantern above. The barrel vault extends into the aisles from the dome in a Greek-cross form, leaving four flat ceilings in the corners of the church. The church is well lit by plain glass windows in the aisles and originally there was a large east window in the chancel, that is now covered by a reredos.

The grand central room thus enclosed is frescoed with trompe-l'oeil niches, columns, balustrades, and flanked by symmetrically arranged smaller and lower barrel-vaulted rooms that are linked by generous arched openings. Thus, there is an articulated central reception space in the form of a Greek cross. The vestibules give onto more intimate spaces, in a series of cubes, double cubes and "golden mean" rectangles characteristic of cinquecento villa floor plans.See Rudolf Wittkower, Architectural Principles in the Age of Humanism, The Warburg Institute, London, 1949.

Moerdyk suggested the same plan he had used for the Potchefstroom-Noord Reformed Church (later named the Potchefstroom-Die Bult Reformed Church), although the Potchefstroom building had different towers and was built entirely of brick. Moerdyk's blueprint included a Greek cross for the tower and seating for 400 churchgoers. The gallery, with seating for 125 people, symbolized outstretched arms embracing the community of believers. The tower was given a blunt point, since a pointed spire was considered too similar to a Roman Catholic church.

Columbia Protecting Science and Industry by sculptor Caspar Buberl. The Arts and Industries Building was sited slightly farther back from the Mall than the Smithsonian Castle to avoid obscuring the view of the Castle from the Capitol. The building was designed to be symmetrical, composed of a Greek cross with a central rotunda. The exterior was constructed with geometric patterns of polychrome brick, and a sculpture entitled Columbia Protecting Science and Industry by sculptor Caspar Buberl was placed above the main entrance on the north side.

This sum was met to a large extent through private donations and co-financed by a state budget. The building is based on an 84 m x 84 m base area in the form of a Greek cross – a cross with four equal length arms, with four gates, a dome and a cross. The building will has an overall height of around 75 metres. 26 columns are arranged in a circle to form the nave of the church which has a 68 m diameter.

One of the matters that influenced their thinking was the Counter-Reformation which increasingly associated a Greek Cross plan with paganism and saw the Latin Cross as truly symbolic of Christianity. The central plan also did not have a "dominant orientation toward the east." Another influence on the thinking of both the Fabbrica and the Curia was a certain guilt at the demolition of the ancient building. The ground on which it and its various associated chapels, vestries and sacristies had stood for so long was hallowed.

Some minor innovations may indicate a move back toward episcopacy in the Restoration era. Lauder Church was built by Bruce in 1673 for the Duke of Lauderdale, who championed the bishops in the reign of Charles II. The Gothic windows may have emphasised antiquity, but its basic Greek cross plan remained within the existing common framework of new churches.M. Glendinning, R. MacInnes and A. MacKechnie, A History of Scottish Architecture: From the Renaissance to the Present Day (Edinburgh: Edinburgh University Press, 1996), , p. 141.

In 1574, the artist Niccolò Circignani, known as "Il Pomarancio", added paintings and other decorations to one of the most interesting rooms in the palazzo, the so-called Room of the Exploits of the overlord Ascanio della Corgna. The only other building of particular note is the finely stucco-ed Church of Santa Maria Maddalena, done on a Greek-cross plan. The church has a neo-classical pronaos and, inside, a panel painted in 1580 by Eusebio da San Giorgio. Fortress of the Lion.

A tetraconch, from the Greek for "four shells", is a building, usually a church or other religious building, with four apses, one in each direction, usually of equal size. The basic ground plan of the building is therefore a Greek cross. They are most common in Byzantine, and related schools such as Armenian and Georgian architecture. It has been argued that they were developed in these areas or Syria, and the issue is a matter of contention between the two nations in the Caucasus.

Detail of the architecture The building is in the shape of a Greek cross, which some have suggested was intended to show a harmony between pagan philosophy and Christian theologyof Art: The Western Tradition by Horst Woldemar Janson, Anthony F. Janson (2004). (see Christianity and Paganism and Christian philosophy). The architecture of the building was inspired by the work of Bramante, who, according to Vasari, helped Raphael with the architecture in the picture. The resulting architecture was similar to the then new St. Peter's Basilica.

The original church was built by the Barnabite order in the 9th century, on the ruins of the Pretorium which tradition holds was the prison that held the martyred Sant'Alessandro. Its construction for the Barnabite order began in 1601 to a design by Lorenzo Binago, Francesco Maria Richini also contributing to the project. It comprises a principal building on the Greek cross plan with a central dome, and a separate presbytery which also has a dome. The façade, with decorations in bas-relief, has two campaniles.

Crosses are fairly common, although most of those found on traditional pysanky are not Ukrainian (Byzantine) crosses. The crosses most commonly depicted are of the simple "Greek" cross type, with arms of equal lengths. This type of cross predates Christianity, and is a sun symbol (an abstracted representation of the solar bird); it is sometimes combined with the star (ruzha) motif. The "cross crosslet" type of cross, one in which the ends of each arm are crossed, is frequently seen, particularly on Hutsul and Bukovynian pysanky.

The cornerstone was laid in August 1937, and the structure complete in March 1938. Work then stopped but was resumed in 1946–1959. The church combines the Brâncovenesc style, with its entrance columns, with Byzantine architecture, as seen in the mosaics, the centred Greek cross plan and the high and spacious interior. The marble and alabaster iconostasis, with icons in mosaic, was done from 1952 to 1959, following Ionescu-Berechet's plans and with contributions from artists Ion Dimitriu-Bârlad, Constantin Baraschi, and Mihai Wagner.

Since 1952 it has been a funeral home. Its Georgian portico, designed by Robert Adam in 1766 for Bowood House, Wiltshire, was moved there in 1956. St Margaret's Church, Roath Roath contains the Church of Saint Margaret of Antioch, built in 1870 on the site of an earlier Norman chapel and the new Gothic revival church. Designed by Llandaff architect John Prichard on a Greek Cross plan, the latter was financed totally by the third Marquess of Bute, in spite of his conversion to Catholicism in 1868.

A variation of the rectangular church that developed in post-Reformation Scotland was the "T"-shaped plan, often used when adapting existing churches, which allowed the maximum number of parishioners to be near the pulpit. They can be seen at Kemback and Prestonpans after 1595. It continued to be used into the seventeenth century as at Weem (1600), Anstruther Easter, Fife (1634–44) and New Cumnock (1657). In the seventeenth century a Greek cross plan was used for churches such as Cawdor (1619) and Fenwick (1643).

Architecture of the World, Taschen, Lausanne, 1964. The ground plan is a kind of square which becomes an octagon at the level of the entablatures above the columns only to change again to become a Greek cross at the level of the pendentives of the vaults. Again, the base of the dome is circular in plan yet the lantern above it octagonal. The dome itself is supported by eight ribs forming a lattice similar to those found in mosques and Romanesque churches in Spain.

The Basilica of St. Joseph the WorkerBasilica of St. Joseph the Worker () or the Basilica of Barbacena, is a Catholic temple located in Barbacena, Minas Gerais in Brazil. Built from 1950 and finished around 1958, its plan has the shape of a Greek cross. It was elevated to the status of basilica on September 25, 1965 and registered by Municipal Decree No. 3908 of May 21, 1999. It belongs to the Archdiocese of Mariana and its current parish priest is Canon Antonio Eustaquio Barbosa.

The church is built in a Dutch baroque style and its basic layout is a Greek cross. The walls rest on a granite foundation and are made of red and yellow tiles but in a random pattern unlike what is seen in Christian IV's buildings where they are generally systematically arranged. The facade is segmented by pilasters in the palladian giant order, that is they continue in the building's entire height. The pilasters are of the Tuscan order with bases and capitals in sandstone.

On Wednesday, December 10, 1986, NCNB announced that it would be constructing what would become the Corporate Center. Jointly developed with Charter Properties, the project was initially announced as a 50 story tower to be constructed with a 350-room hotel and what would become the North Carolina Blumenthal Performing Arts Center. The initial design for the 50 story tower was created by Charlotte-based Odell Associates. Its design featured a circular tower complete with a Greek cross lying flat on top to pay homage to the intersection of Trade and Tryon.

The façade (completed 1612) is constructed to allow for Papal blessings from the emphatically enriched balcony above the central door. This forward extension of the basilica (which grew from Michelangelo's Greek cross to the present Latin cross) has been criticized because it blocks the view of the dome when seen from the Piazza and often ignores the fact that the approaching avenue is modern. Maderno did not have as much freedom in designing this building as he had for others structures. Most of Maderno's work continued to be the remodelling of existing structures.

A Greek cross resembling the groundplan of the monument with its arms being of equal length but shorter than the width of their ends It is said that due to the influence of Crown Prince Frederick William (IV) Schinkel's design in Gothic Revival style prevailed over another in rather classicist forms.Michael Nungesser, Das Denkmal auf dem Kreuzberg von Karl Friedrich Schinkel, see references for bibliographical details, p. 27\. . The monument was decided to be made from cast iron.Michael Nungesser, Das Denkmal auf dem Kreuzberg von Karl Friedrich Schinkel, see references for bibliographical details, p. 28\. .

The former First Church of Christ, Scientist, built in 1916 in the Classical Revival style, is a historic Christian Science church edifice located at 132 E. 4th Street in Neillsville, Wisconsin. It was designed in the form of a Greek cross by Chicago architect L. J. Corbey for Christian Science Society, Neillsville, which had been organized in January, 1912 and which later became First Church of Christ, Scientist. Its front portico is supported by four large Tuscan columns. While small in size, the building projects a large presence.

East Avenue Tabernacle Associate Reformed Presbyterian Church, also known as the Great Aunt Stella Center, is a historic Associate Reformed Presbyterian church located at 927 Elizabeth Street in Charlotte, Mecklenburg County, North Carolina. It was designed by architect James M. McMichael in a Classical Revival style. It consists of a two-story sanctuary, built in 1914, and a four-story educational wing added to the south side of the sanctuary in 1925. The sanctuary has a Greek cross plan with a central octagon with shallow two- story wings that terminate in low parapeted walls.

The chapel itself is entered through a pedimented tetrastyle portico, of a sombre Doric order. It contains a domed space at the center of a Greek cross, formed by three coffered half-domed apses with oculi that supplement the subdued natural light entering through the skylight of the main dome. The cubic, semicylindrical and hemispheric volumes recall the central planning of High Renaissance churches as much as they do a Greco-Roman martyrium. White marble sculptures of the king and queen in ecstatic attitudes were made by François Joseph Bosio and Jean-Pierre Cortot.

The miracles and intercessions by the Madonna are registered in a book kept in the parrochial archive, plus evident in the numerous votive marble plaques in the church. Interior The church facade has a tall narrow scroll decoration, the interior follows a Greek cross plan with a central dome. It has undergone various restorations; the most recent was in 1983, after the earthquake of 1980. The church entrance has a number of works of art by the artist Gaspare Traversi, who is best known for his genre paintings.

Interior towards the altar San Raffaele (also known as San Raffaele a Materdei or properly, Santi Raffaele e Margherita da Cortona) is a church on Via Amato di Montecassino, in the quartiere of Materdei in Naples, Italy. The church was founded in 1759 built on designs of Giuseppe Astarita, adjacent to a hospice for women called a Ritiro delle Pentite, or hospice for prostitutes. The interior has a Greek cross layout. The interior has a highly decorated polychrome altar surmounted by a baldacchino of gilded wood with angels and a crown.

Interior circa 1910 The church itself is a large brick building constructed in the shape of a Greek cross; it was designed by Andrew DeCurtins of Lima and built under the supervision of John Burkhart of Kenton. A Romanesque Revival structure erected in 1903, it is centered on a large bronze dome. Worshippers may enter the building through its eastern end; the facade is pierced by three large doorways and a massive rose window. Capping the facade are two square towers; each one includes an octagonal belfry and is topped with a smaller bronze dome.

Facade The plan of the upper church is almost a Greek cross with nearly equal arms and the centre is crowned by the dome. Large Ionic columns, supporting a large entablature, cluster around the crossing and populate the wall spaces of the apsidal transepts, choir and nave. The windows in the apsidal vaults are each surmounted by a split pediment with a head in a scallop shell with octagonal coffering above, motifs which Cortona used in his fresco painting.Rudolf Wittkower, Art and Architecture in Italy 1600-1750, Pelican History of Art, 1985 edn.

The church has a brick façade with alternate courses raised and recessed; the façade is capped with travertine and the doors and windows are framed with the same material. The floor plan, with a central nave of approximately 70 metres in length and flanked by two aisles, is a hybrid of a Latin cross and a Greek cross. The hemispherical dome is 36 metres high and 20 metres in diameter. Over the main portal there is a high relief by Arturo Martini depicting the sacred heart of Jesus.

He [the pope] controlled what was built and who was commissioned to build it. In 1605, at the very beginning of his pontificate, Pope Paul V commissioned Carlo Maderno to redesign St. Peter's Basilica. It was at the age of 72, in 1546, when Michelangelo first took hold of the unfinished rebuilding project started by Bramante. When Michelangelo died, the construction of the, then, Greek-cross section surrounding the Papal altar and the tomb of Peter had been completed only as far as the top of the drum.

The dome then became completed, with some modifications, by Giacomo della Porta in 1590.Blakemore, 1997, p.143 It was the continuous debates over the religious and aesthetic benefits of keeping the Greek-cross plan or enhancing the space by extending it into Latin-cross plan that led Paul V to boldly commission for Maderno's services. Maderno's initial projects, including the long nave addition, which created a new Latin-Cross solution upon the ground plan, the façade and the portico, became an instantly recognizable image of Rome and the heart and spirit of Catholic Christianity.

Some minor innovations may indicate a move back toward episcopacy in the Restoration era. Lauder Church was built by Sir William Bruce in 1673 for the Duke of Lauderdale, who championed the bishops in the reign of Charles II and the Gothic windows of which may have emphasised antiquity, but its basic Greek cross plan remained within the common framework of new churches. The drive to episcopalian forms of worship may have resulted in more linear patterns, including rectangular plans with the pulpit on the end opposite the entrance.

The Brown Chapel A.M.E. Church is located northeast of downtown Selma, on the east side of Martin Luther King Jr. Boulevard between St. Johns Street and Clark Avenue. It is a large masonry structure, built out of red brick with white stone trim. Stylistically it is basically Romanesque Revival, built in the shape of a Greek cross with Byzantine influences. Its facade has its entries recessed behind an arcade of three rounded arches, and is flanked by a pair of square towers topped by octagonal lanterns and cupolas.

Madison Square Presbyterian Church (demolished 1919) was a Presbyterian church in Manhattan, New York City, located on Madison Square Park at the northeast corner of East 24th Street and Madison Avenue. It was designed by Stanford White in a High Renaissance architectural style, with a prominent central dome over a cubical central space in an abbreviated Greek cross plan; it was built in 1906.NYPL Digital Images The inaugural service was on October 14 of that year.Dedication of the Madison Square Presbyterian Church: Sunday, October fourteenth nineteen hundred and six; morning and evening service.

Detail: the ancient agate bowl Detail: ivory plaque The ambon has a trefoil floorplan. The wall of the central portion is divided into nine rectangles decorated with lacquer by borders of filigree and precious stones (only one of these borders is original), five of which have a crux gemmata in the shape of a Greek cross. Costly materials decorate these panels – three are original, two are later. The original pieces include an ancient agate bowl, which probably dates from the third or fourth century AD.Silke Schomburg: Der Ambo Heinrichs II. im Aachener Dom. p. 47.

278 The church was built under the supervision of brother Rufino di Cerchiara, who was perhaps also the architect.Antonio Cristofani : Storie di Assisi ; A. Forni Editore, edition 1980 The church, built in late Renaissance style, features a high dome divided in coffers, with lantern and a drum. Such a caisson ceiling is a feature of Renaissance architecture. The plan is a Greek cross one, with nave and transepts of the same length, inspired by the church of Sant'Eligio degli Orefici in Rome, one of the few churches designed and built by Raphael.

King Stanisław August Poniatowski and his brother, the last Catholic Primate of the Polish-Lithuanian Commonwealth, Archbishop Michał Jerzy Poniatowski, laid the cornerstone. The King accepted the classicist design of his royal architect, Jakub Kubicki, for the Temple, which was to be built on the plan of a Greek cross. However, the Russian Imperial Army invaded Poland, making construction impossible, and three years later Poland disappeared from the map of Europe. The only survival of the planned Temple is a small ruined chapel in the Warsaw University Botanical Garden, containing the cornerstone.

It was the design of Donato Bramante that was selected, and for which the foundation stone was laid in 1506. This plan was in the form of an enormous Greek Cross with a dome inspired by that of the huge circular Roman temple, the Pantheon. The main difference between Bramante's design and that of the Pantheon is that where the dome of the Pantheon is supported by a continuous wall, that of the new basilica was to be supported only on four large piers. This feature was maintained in the ultimate design.

The Church of Divine Providence (St. Cajetan) In 1639, religious of the Theatines reached Goa to found a convent. They built the St. Cajetan Church by 1665, dedicated to St. Cajetan and to Our Lady of Providence, designed by the Italian architects Carlo Ferrarini and Francesco Maria Milazzo with the plan in the form of a Greek cross. The facade mimics the facade designed by Carlo Maderno for St. Peter's Basilica in Rome. It’s crowned with a huge hemispherical dome, on the pattern of the Roman Basilica of St. Peter.

The chronicles of the time inform us that the Church is already built halfway up; indeed it can be noticed that the complex has reached about three meters above the level of the first floor. The new architect Mauro Manieri modifies the internal distribution and demolishes the Church, creating in its place an internal courtyard and planning the construction of a new one, outside the monastery. However, this Church will be never built. Probably the Church, as it is typical of that historical period, has to have a central plan and a Greek cross.

The basic Balkenkreuz national insignia, adopted by German aviation units in early April 1918 German and Austro-Hungarian military aircraft at first used the _Cross Pattée_ insignia, most often known in German as the , for the Prussian military medal. The , a black Greek cross on white, replaced the earlier marking from late March 1918 (especially in early April — Richthofen's last Dr.I, 425/17, was changed over just before he was killed), although the last order on the subject, standardising the new national marking, was dated 25 June 1918.

In religious architecture, the rectangular shape of churches was replaced by that of a Greek cross, with the dome at the center. The different classical orders were on display one above the other on the facade, but the dome, gilded and sculpted, rather than the facade, was the principal decorative feature. The grandest example was Church of Les Invalides (1679-1691), by Jules Hardouin-Mansart. Perrault's colonnade of the Louvre (1670), in the monumental classic style of Louis XIV The most important project in civil architecture was the new colonnade of the Louvre (1670).

The church itself is in the raw red brick, while the vaults, arches and small columns have gray scale color. The nave is octagonal with a Greek cross superimposed, with the choir in the apse, shallow transept and rectangular entrance flanked by two slender, octagonal bell towers. A central dome rises above the church.Store Norske Leksikon in Norwegian Trinity Church is the largest church in Oslo and one of the largest of the many octagonal churches in Norway, but one of few octagonal churches constructed in red brick.

The Memorial Cross is in the form of a sterling silver Greek cross, 32 mm across, with arms slightly flared at the ends. At the top of the vertical arm is a St. Edward's Crown, symbolising the Canadian monarch's role as the fount of honour, with a maple leaf at the end of the other arms. At the centre, within a laurel wreath, is the reigning monarch's Royal Cypher. The reverse is plain, with most crosses engraved with the rank, service number, initials and surname of the person commemorated.

This was, in part, due to Simeon Benjamin, who offered $5,000 to the committee if they moved the college to Elmira. In May 1853, the estate of Thomas Noyes was chosen as the site of the college. Architects were asked to submit possible designs for the building; the committee approved of the use of a Greek cross design. The Regents of the University of the State of New York gave a charter to the Elmira Collegiate Seminary on October 23, 1853; the name was later changed to Elmira Female College.

During the construction of the cathedral, the tabernacle was housed in what are now the Chapels of San Isidro and Our Lady of Agony of Granada. However, in the 18th century, it was decided to build a structure that was separate, but still connected, to the main cathedral. It is constructed of tezontle (a reddish porous volcanic rock) and white stone in the shape of a Greek cross with its southern facade faces the Zócalo. It is connected to the main cathedral via the Chapel of San Isidro.

The church is located within a walled area including a Palaeo-Christian necropolis, which is still being excavated. Today only part of the original basilica, which was on the Greek cross plan with a transept and a semi-spherical dome; all the four arms had a nave and two aisles. The current church consists of the dome-covered area (dating to the 5th-6th centuries) and the eastern arm, with a nave and two aisles, which ends with a semicircular apse. The western façade, partly ruined, is divided into three sectors.

The Isis District War Memorial and Council Chambers is a one-story masonry building located at the southern end of Churchill Street, Childers. The town's water tower provides a backdrop to the building which is set amid wide lawns with several large shade trees. The building is centrally planned, taking the form of a Greek cross in plan and exhibiting a style most aptly described as abstract Classicism. This is emphasised in elevation by the use of elements such as pediments, acroteria and an austere, modulated facade that suggests an abstracted temple front.

It used the Greek cross plan prevalent during the time of the Kyivan Rus, six pillars, and three apses. A miniature church, likely a baptistery, adjoined the cathedral from the south. There was also a tower with a staircase leading to the choir loft; it was incorporated into the northern part of the narthex rather than protruding from the main block as was common at the time. It is likely that the cathedral had a single dome, although two smaller domes might have topped the tower and baptistery.

Construction of the original Monastery of the Order of Teutonic Knights at Križanke is believed to have commenced in 1228. The 1511 Idrija earthquake severely damaged the monastery buildings and they were partly rebuilt between 1567 and 1579. The original church was completely rebuilt in Baroque style between 1714 and 1715; it was designed by Venetian architect Domenico Rossi in a shape of a Greek cross, and was the first church of its kind in Slovenia. It has an ornate exterior and the gate area is accentuated with pilasters and a distinctive undulating dome.

The coat of arms is party per cross in 9 equal squares, representing the former 9 counties (ținuturi) of Greater Romania (71 in total) which it had included. Four of the squares, forming the arms of a Greek cross, are of or. The four squares forming the corners of the shield are of azure. The square in the heart of the shield is gules, and bares an or Romanian Crown (in recollection of the 1922 Alba-Iulia coronation of Ferdinand I and Marie of Edinburgh as King and Queen of Greater Romania).

On the main altar there is a Spoliation of Christ by Luigi Ademollo, and a 15th-century Crucifix, which legend holds was donated to the Compagnia di San Giovanni Battista della Morte (Company of St John the Baptist of the Death) by St Bernard himself. Built in the shape of a Greek cross, it has a cupola with a cylindrical tambor. The design is attributed to Francesco di Giorgio Martini. Most of the brick façade has only a sliver of a cornice with architrave in travertine marble, added in 1545–1550.

The layout is that of a Greek cross, with an opening from the presbytery to a large chapel-like area, now the sanctuary of the Passion, where the nuns could attend services apart from the community. This area now holds the remains of the blessed Marco Antonio Durando. The interior was decorated with frescoes by a team of artists, including Luigi Vannier in the ceiling of the presbytery. The elaborate dome frescoes, however, were painted over a century after the church's construction, circa 1768, by Michele Antonio Milocco.

The length of the church, built in a Greek cross form, is and its height is . A four-pillared entrance is topped by a bell tower built in two levels; the first level is rectangular in shape, and at the second level there are pillars supporting an umbrella-shaped dome. Built in the style of Armenian religious architecture, it has cut-stone fascia. Within the church there are paintings that are based on similar ones at the Echmiatsin Church, which is a blend of Christian and Islamic art forms.

The church has a tripartite façade and a triangular tympanum; above the door there is a bas relief depicting the Virgin Mary with saints John the Evangelist and John the Baptist. This recalls that the church is dedicated to the Immaculate and to two saints named John (as also attested by an epigraph inside). Also in the façade there are two coats of arms with the lamb and the eagle that allude to the two saints. The interior forms a Greek Cross (while the ancient church had three naves), with a hemispherical dome.

The pre-1978 (and first) flag of Greece, which features a Greek cross (crux immissa quadrata) on a blue background, is widely used as an alternative to the official flag, and they are often flown together. The national emblem of Greece features a blue escutcheon with a white cross surrounded by two laurel branches. A common design involves the current flag of Greece and the pre-1978 flag of Greece with crossed flagpoles and the national emblem placed in front. [Note: Website contains image of the 1665 original for the current Greek flag.

Christian cross variants 7th-century Byzantine solidus, showing Leontius holding a globus cruciger, with a stepped cross on the obverse side Double- barred cross symbol as used in a 9th-century Byzantine seal Greek cross (Church of Saint Sava) and Latin cross (St. Paul's cathedral) in church floorplans This is a list of Christian cross variants. The Christian cross, with or without a figure of Christ included, is the main religious symbol of Christianity. A cross with a figure of Christ affixed to it is termed a crucifix and the figure is often referred to as the corpus (Latin for "body").

At: Símile, revista del Col·legi Oficial de Bibliotecaris i Documentalistes de la Comunitat Valenciana (COBDCV), novembre – desembre 2012, nº 18 That is how the Hospital de Folls de Santa María dels Pobres Innocents was founded. It was the first psychiatric hospital founded in Europe and in 1493 it was granted permission to expand the hospital. The construction works built a new nursing with the form of a Greek cross as one of the many attachments to the hospital, and in which now is located the library. It had two floors, the lower one designed to treat men, and the upper one, for women.

The Solderholtz Cottage is set on the east side of South Gouldsboro Road (Maine State Route 186), about south of its junction with United States Route 1, on a neck of land separating freshwater Jones Pond from Jones Cove, an inlet of Frenchman Bay. It occupies a high point on , which is approached by a curving private lane from the north. It is a rambling single-story building, fashioned out of wood and fieldstone, which approximates a Greek cross in shape. It has a hip roof with flared eaves and exposed rafter ends in the Craftsman style.

Bohemond. The Crusades, beginning in 1095, also appear to have influenced domed architecture in Western Europe, particularly in the areas around the Mediterranean Sea. The Mausoleum of Bohemond (c. 1111-18), a Norman leader of the First Crusade, was built next to the Basilica of San Sabino in the southern Italian province of Apulia and has a hemispherical dome in a Byzantine style over a square building with a Greek cross plan. The dome had been covered by a pyramidal roof, according to a 1780s engraving, and the portion above the octagonal drum is a restoration.

The Baroque domes were characterized by unusual shapes and curves, such as those of Gniezno Cathedral. However, many bulbous domes in the larger cities of eastern Europe were replaced during the second half of the eighteenth century in favor of hemispherical or stilted cupolas in the French or Italian styles. In the Polish–Lithuanian Commonwealth, Roman Catholic churches with Greek-cross plans and monumental domes designed by Tylman van Gameren became popular in the last quarter of the seventeenth century. Examples include St. Kazimierz Church (1689-95) and the Church of St. Anthony of Padua, Czerniaków (1690-92).

Adjacent to a hospital and retirement home for injured war veterans, the royal chapel of Les Invalides in Paris, France, was begun in 1679 and completed in 1708. The dome was one of many inspired by that of St. Peter's Basilica and it is an outstanding example of French Baroque architecture. In 1861 the body of Napoleon Bonaparte was moved from St. Helena to the most prominent location under the dome. Plans for the Church of St. Genevieve, the patron saint of Paris, were approved in 1757 with a dome 275 feet tall over a Greek cross plan.

Tempietto in Rome. The Tempietto, a small domed building modelled on the Temple of Vesta, was built in 1502 by Bramante in the cloister of San Pietro in Montorio to commemorate the site of St. Peter's martyrdom. It has inspired numerous copies and adaptations since, including Radcliffe Camera, the mausoleum at Castle Howard, and the domes of St. Peter's Basilica, St Paul's Cathedral, the Panthéon, and the U.S. Capitol. Bramante's initial design for the rebuilding of St. Peter's Basilica was for a Greek cross plan with a large central hemispherical dome and four smaller domes around it in a quincunx pattern.

Education – Historic Markers – Downtown. Bostonhistory.org. Retrieved on 2013-11-07. This description of the original Custom House appears in the 1850 Boston Almanac: :Situated at the head of the dock between Long and Central Wharves, fronts east on the dock, west on India Street, and is in the form of a Greek Cross, [with] the opposite sides and ends being alike. It is long north and south, wide at the ends, and through the centre. It is built on about 3,000 piles, fully secured against decay; the construction throughout is fireproof and of the very best kind.

The dome of the church The church is in the form of a Greek cross and has a large dome with Latin inscriptions from the Gospel of Matthew on its inside. The Corinthian style facade of the church has four granite statues of Saints Peter, Paul, John the Evangelist and Matthew. The church has seven altars, with the main altar dedicated to Our Lady of Providence. The main altar is based on the one at Church of San Nicolo, Verona, and was ordered in 1713 by the Theatines under the patronage of Cosimo III de' Medici, Grand Duke of Tuscany.

The interior of the church while maintaining some of the chapel space, was reshaped into a Greek-cross layout. The walls and ceiling have baroque stucco decoration. Among the original altarpieces in the church is a Descent of the Holy Spirit; others are now conserved in the Museo Civico in town, including a Madonna and Child, a Lactating Madonna and Saints, and a Glory with Celestine V (1750), all by Giovanni Conca, brother of Sebastiano Conca. Also in the Museum are the altarpieces of Saints Caterina e Lucia, and St Benedict writing the Rule (1758) by Anton Raphael Mengs.

The conclusion of the Sanctuary took place between 1760 and 1769 thanks to the architect Bernardo Antonio Vittone, who maintained the Greek cross plan. The façade is rough and severe due to the visible bricks and it contrasts with the inner baroque decoration. The chapel dedicated to the Virgin has the same measures and position of the one in Loreto. A statue of the Black Madonna was placed in the chapel, in order to seal the importance of the worship to the black Madonna in the Biellese territory, adding this church to the Santuario di Oropa.

The original church dated in part from the 12th century, with the earliest recorded rector being in 1166. By the 18th century the church had fallen into a bad state of decay and in 1778 a replacement was built on the same site, of a small Greek cross plan, built of brick. This was itself replaced by the present Church of England parish church in 1880. Designed by George Edmund Street and built next to the 18th-century church, it is primarily of buff-covered coursed marble stone with bath stone dressings overlying this in part, forming decorative arches.

The design of the chapel was entrusted to the Theatine priest and architect Francesco Grimaldi, who had been active in designing other churches including the church of Santa Maria della Sapienza, the Basilica of San Paolo Maggiore, and the church of Sant'Andrea delle Dame.To complete the chapel of San Gennaro, several buildings were demolished, including some houses, some chapels, and the small church of Sant'Andrea. The chapel has a Greek cross plan with a dome. In the interior, Francesco Solimena created the porphyry altar (1667) that frames the silver front (1692–1695) by Giovan Domenico Vinaccia.

The major exceptions to the common Greek cross plan are in the work of Smith, who had become a Jesuit in his youth. These included the rebuilding of Holyrood Abbey undertaken for James VII in 1687, which was outfitted in an elaborate style. In 1691 Smith designed the mausoleum of Sir George Mackenzie of Rosehaugh, in Greyfriars Kirkyard, a circular structure modelled on the Tempietto di San Pietro, designed by Donato Bramante (1444–1514). The drive to Episcopalian forms of worship may have resulted in more linear patterns, including rectangular plans with the pulpit at the end opposite the entrance.

The church was constructed in the Doric style of the period, in the form of a Greek cross (i.e. legs of equal length), with walls nearly 1.5m (five feet) thick, constructed of unusually large kabok (clay ironstone) with coral and lime plaster. The high roof in the middle of the building resembles a dome and was originally arched with brick and roofed in blue Bangor slate roof tiles surmounted with a brazen lion. This lion had a crown on its head, bearing a sword in one hand and seven arrows in the other, representing the seven united provinces of the Dutch Republic.

Minor Basilica of the Immaculate Heart of Mary (Immaculate Heart of Mary), is a titular church in Piazza Euclide, Rome. It was built by the architect Armando Brasini (1879-1965). Its construction began in 1923 with the design of a Greek cross inscribed in a circle with an articulated facade, and completed before 1936, the year in which it was made a parish church and granted to the Congregation of Missionary Sons of the Sacred Immaculate Heart of Mary, usually known as the Claretian Missionaries. A grand dome was planned, but never realized; a smaller drum was completed in 1951.

The shrine at Shalban Vihara is actually not but six different structures built successively on the same spot in different periods and on different plans. They provide interesting evidence of the evolution and gradual transforming of the traditional Buddhist stupa architecture into that of the Hindu temple. The remains of the first two periods are hidden below the cruciform shrine of period III which was built with the monastery as a single complex. It is an exceedingly interesting piece of architecture resembling in ground plan a Greek cross, 51.8m long with chapels built in the projecting arms.

Cawdor church, built in 1619 on a Greek cross plan. James V encountered the French version of Renaissance building while visiting for his marriage to Madeleine of Valois in 1536 and his second marriage to Mary of Guise may have resulted in longer term connections and influences.A. Thomas, "The Renaissance", in T. M. Devine and J. Wormald, The Oxford Handbook of Modern Scottish History (Oxford: Oxford University Press, 2012), , p. 195. Work from his reign largely disregarded the insular style adopted in England under Henry VIII and adopted forms that were recognisably European, beginning with the extensive work at Linlithgow,J.

Tradition holds the church was erected in 533 atop the ruins of a Temple of Diana; construction was instigated by the Bishop Pomponio of Naples, a relative of Pope John II. A church at the site, dedicated to Santa Maria Maggiore, was consecrated in 535.Le chiese di Napoli, Volume 1, by Luigi Catalani, Naples (1845): page 124. It was soon titled a minor basilica church. By 1654, the old church was threatening collapse, and reconstruction was pursued under the designs of Cosimo Fanzago, which led to the domed church with a Greek cross layout we see today.

The seats in the interior have disappeared. Above it on the hillside is a theatre of opus reticulatum, less well preserved. Close by is a building converted into the Cappella del Crocefisso, originally perhaps a tomb in the Via Latina; it is a chamber in the form of a Greek cross, constructed of large masses of travertine, with a domed roof of the same material. On the opposite bank of the Rapido are the ruins called Monticelli, attributed to the villa of Varro, a part of which was frequently drawn by the architects of the 16th century.

A sabretache decorated by a Greek cross, mythical animals and palmettes, found in a grave at Tiszabezdéd, may reflect Christian influence or religious syncretism, but the dead warrior was put in the grave in accordance with pagan practices, together with his horse. A paramount chieftain (or grand prince), always a member of the Árpád dynasty, ruled the Hungarians in the 10thcentury. The Árpáds were believed to have descended from a legendary bird of prey, the turul. The Byzantine Emperor Constantine Porphyrogennetos also wrote of two high-ranking Hungarian dignitaries, the gyula and the harka, around 950.

The site is on a ridge overlooking the Tiber valley, and sloping down to the main area of the EUR on the other side. It is in the north-west corner of the EUR, and is not very conveniently situated; the intention of the planners was that the building should be visible from afar. The monumental approach from the east side, up a slope, The edifice is a cube in brown brick with stone trim, and with four gigantic pylons attached to each face forming the Greek cross. These pylons are banded with six horizontal stone string courses.

Hagia Sophia, the Church of Holy Wisdom, in Istanbul, Turkey Byzantine architecture evolved from Roman architecture. Eventually, a style emerged incorporating Near East influences and the Greek cross plan for church design. In addition, brick replaced stone, classical order was less strictly observed, mosaics replaced carved decoration, and complex domes were erected. One of the great breakthroughs in the history of Western architecture occurred when Justinian I's architects invented a complex system providing for a smooth transition from a square plan of the church to a circular dome (or domes) by means of squinches or pendentives.

Since then, dissection puzzles have been used for entertainment and maths education, and creation of complex dissection puzzles is considered an exercise of geometric principles by mathematicians and math students. The dissections of regular polygons and other simple geometric shapes into another such shape was the subject of Martin Gardner's November 1961 "Mathematical Games column" in Scientific American. The haberdasher's problem shown in the figure below shows how to divide up a square and rearrange the pieces to make an equilateral triangle. The column included a table of such best known dissections involving the square, pentagon, hexagon, greek cross, and so on.

Most were destroyed in the nineteenth century and very few remain today,Place Denfert-Rochereau, Place de la Nation, Parc Monceau and at the edge of the basin of La Villette. of which those of La Villette and Place Denfert-Rochereau are the only ones that haven't been altered beyond recognition. In certain cases, the entry was framed with two identical buildings; in others, it consisted of a single building. The forms were archetypal: the rotunda (Heap, Reuilly); the rotunda surmounting a Greek cross (La Villette, Rapée); the cube with peristyle (Picpus); the Greek temple (Gentilly, Courcelles); the column (le Trône).

The Greek cross (equal arms) has a core of cherry wood and in the centre there is a circular disk acting as connection for the four arms. The anverse is covered with a filigreed mesh of gold thread and bands of geometric decoration with a total of 48 precious stones (agates, sapphires, amethysts, rubies and opals) of great beauty. The reverse is covered with fine sheet of gold held by silver nails. Decoration on this side shows, mounted on the central disk, a large elliptical agate cameo, and a large stone at the end of each arm.

The Prisoner of War Medal 1940–1945 was a 38 mm in diameter circular bronze medal surmounted by a three-dimensional 25 mm high royal crown mounted on a pin giving the entire assembly (medal and crown) a height of 64 mm. The obverse bore a broadsword pointing down superimposed over a Greek cross with slightly flared ends and bisecting the years "1940" and "1945" inscribed in relief on the lateral cross arms. Two triangular laurel leaves protrude from between the cross arms fanning out. A ring of barbed wire encircles the cross along the entire circumference 3mm from the medal's edge.

João Antunes was born in Braga, in the province of Minho, and, presumably received some sort of education while restoring the Ribeira Palace during the Philippine Dinasty. Antunes was appointed royal architect (arquitecto Real) in 1699. His main work is the Church of Santa Engrácia (started 1682) in Lisbon, a Greek cross building with curved façades typical of the Baroque architecture of Borromini. Antunes was also responsible for the projects for the Church of Saint Elói (built after 1694, destroyed in the 1755 Lisbon earthquake) and the Church of Menino Deus (1711–1737), both in Lisbon.

The innovative floorplan of this church consists of a Greek cross church (an influence of Santa Engrácia) inserted into a hexagon with four sides of round shape. Another work by Antunes in northern Portugal was the renovation of the sacristy of Braga Cathedral. João Antunes also designed several Baroque altarpieces for the private chapels of the nobility and churches like the Santo Antão Church in Lisbon and the Chapel of Saint Vincent in Lisbon Cathedral (the latter was lost in the 1755 earthquake). Another notable work is the large tomb constructed for Princess Joana in the Convent of Jesus in Aveiro.

Statue of adult Lohuecotitan and juvenile outside the Castilla-La Mancha Paleontological Museum Lohuecotitan was recognized by its describers as having a number of unique characteristics (autapomorphies) not seen in other titanosaurs. In the dorsal vertebrae, the edges of the postspinal laminae extend outwards. In the first several caudal vertebrae, the medial spinoprezygapophyseal and spinopostzygapophyseal laminae respectively connect to the prespinal and postspinal laminae on the bottom surface. In addition, due to the way that the prespinal and postspinal laminae project upwards, the neural spine of the vertebra appears to be V-shaped from the side, and resemble a Greek cross in cross-section.

The church was built in the 10th century by St. Nilus the Younger as a place of retirement for nearby eremite monks and is one of the most important testimonies to Byzantine art in Italy. It is the most ancient monument in the city and was originally dedicated to St. Anastasia. It has a Greek cross plan with five characteristic domes on cylindrical drums and, in the past, the entire building was supported by very thin columns then these were covered with cement after restoration works. Between 1928 and 1934, during the restoration works, a fragment of a fresco picturing a Virgin Hodegetria was discovered.

The plan of the church is a Greek cross, with a hemispherical dome; pendentives are decorated with stuccoes of the Four Evangelists, while the four arches supporting the dome are decorated with stuccoes of angels and allegories of the Passion, Hope and Faith. Above the main altar, a fresco of Antonio Bicchi depicts the Lord blessing. On the left side chapel is the polychrome marble urn, work of Corrado Mezzana, containing the relics of Peter Julian Eymard, founder of the Congregation of the Blessed Sacrament. The altar is decorated with a painting by Placido Costanzi which depicts a vision of St. Charles Borromeo (1731).

Interior of the church Commissioned by Bishop Bonaventure Baüyn, the Bishop of Uzès, the Church of Saint-Étienne was built to replace a previous church at the same site that had been destroyed by the Protestants during the Wars of Religion and used as a store and arsenal. The only element that remains of the original church is the bell tower, which dates to the 13th century and was spared to be used as a defensive watchtower. Construction on the baroque building occurred between 1764 and 1774, according to the designed by Pierre Bondon, an architect from Avignon. The cruciform church is laid out in the form of a Greek cross.

St. Peter's Basilica in Vatican City Bramante's initial design for the rebuilding of St. Peter's Basilica was for a Greek cross plan with a large central hemispherical dome and four smaller domes around it in a quincunx pattern. Work began in 1506 and continued under a succession of builders over the next 120 years. Bramante's project for St. Peter's marks the beginning of the displacement of the Gothic ribbed vault with the combination of dome and barrel vault. Proposed inspirations for Bramante's plan have ranged from some sketches of Leonardo da Vinci to the Byzantine quincunx church and the dome of Milan's Basilica of San Lorenzo.

The Basilian crest was developed in the late nineteenth century. Its main components are the founding date of the Congregation (1822); the Congregation's motto in Latin; and a shield bearing four symbols. The four symbols and their meanings are: a chalice, representing the Blessed Sacrament; an open book, representing knowledge; a fleur-de-lis representing both the Blessed Virgin and the French origins of the Basilians; and a Greek cross, representing Christ and honoring St. Basil, the Greek patron of the congregation. The motto, which is translated as "teach me goodness, discipline, and knowledge", is often seen on the logos of Basilian schools around the world.

It is a brick structure of an abbreviated Latin cross floorplan with such a prominent crossing dome, raised on an octagonal drum lit by ranges of arch-headed windows, that has something of the aspect of a centrally-planned Greek cross. The interior is rich with frescoes and mosaics and inlaid marble floors in full American Renaissance manner. The first mass was celebrated on June 2, 1895, and the completed church was dedicated in 1913. The firm designed other Catholic Churches, including the Church of the Blessed Sacrament, Providence, RI, and Holy Trinity Church, West Point, NY. La Farge has been called "America's leading church architect".

The plan is in the shape of a Greek cross, with three identical arms centering apses, under a central cross-vaulted space without any interior partitions. The church sits on a ground-level crypt which was intended to serve as a mausoleum for the Gonzaga family.Franco Borsi. Leon Battista Alberti (New York: Harper & Row, 1977) The complete absence of columns in the façade signified for Rudolf WittkowerRudolf Wittkower, Architectural Principles in the Age of Humanism, (1962) 1965: pp 47-53, p 47 a decisive turning-point in Alberti's interpretation of architecture, moving beyond his statements in De Re Aedificatoria where he considered the column the noblest ornament of building.

According to the tradition, on July 6, 1484, a painted image of Madonna and Child, located on a wall of the public jail (carceri) of Prato, began to animate itself in the eyes of a local child. It was therefore decided to build a basilica on that site to celebrate the event. Lorenzo de Medici, lord of the Republic of Florence, imposed a design by his favourite architect, da Sangallo. The latter's proposal included a Greek cross plan inspired to Filippo Brunelleschi's Pazzi Chapel and by Leon Battista Alberti's theoretical works; Sangallo used the same idea for his first project of St Peter's Basilica, later superseded by Michelangelo.

St. Andrew's in the Square, Glasgow shows the neo-classical influence In the eighteenth century established patterns of church building continued, with T-shaped plans with steeples on the long side, as at New Church, Dumfries (1724–27), and Newbattle Parish Church (1727–29). William Adam's Hamilton Parish Church (1729–32), was a Greek cross plan inscribed in a circle, while John Douglas's Killin Church (1744) was octagonal. Scots-born architect James Gibbs was highly influential on British ecclesiastical architecture. He introduced a consciously antique style in his rebuilding of St Martin-in-the-Fields, London, with a massive, steepled portico and rectangular, side-aisled plan.

Exterior staircase The building's plan is a modified Greek Cross with four arms extending outwards from the central tower, which stands 64 m (211 ft) tall. The church is situated in Copley Square, in the shadow of the John Hancock Tower. Having been built in Boston's Back Bay, which was originally a mud flat, Trinity rests on some 4,500 wooden piles, each driven through 30 feet of gravel fill, silt, and clay, and constantly wetted by the water table of the Back Bay as they will rot if exposed to air. "David's Charge to Solomon" (1882), a stained-glass window by Edward Burne-Jones and William Morris, in Trinity Church.

On the west face the grouping is artillery rounds, bayonets, plane- table, airplane engines, cannon, propellers and tanks and on the east face the grouping covers artillery rounds, mule's head, bayonets, oak leaves, Greek cross and caduceus, cannon, propellers and tanks. The arches of the belfry openings carry carvings of small arms ammunition, the front view of a machine gun and projectile, field packs with entrenching tools attached and selected officer and enlisted insignia. Engraved on the sills are orientation arrows with distances to points of historic interest. Finally below the belfry openings are sculptured heads representing some of the men and women who served in the Allied armed forces.

Battell Chapel altar Seneca, by Maitland Armstrong, commemorating Thomas Anthony Thacher On the chapel's upper pier walls appear the symbols of the Greek Cross and the Shield of the Trinity, emphasizing Yale's conservative Trinitarianist Congregational religious heritage. The Battell Chapel clock, with chimes consisting of five large bells that rang at each quarter hour, was at one time the clock to which others at Yale was synchronized; however, the chimes have been silent for years. The organ was the gift of Joseph Battell's sister, Irene Battell Larned. The Apse Memorial Windows were designed by the architect Russell Sturgis and installed by Slack, Booth & Co. of Orange, New Jersey in 1876.

Fort Dette, or as it was sometimes known, Star Fort, was a double-deck fortification built in a Greek Cross or "+" configuration in Rolla, Missouri. A blockhouse built in East Rolla, it was named Fort Dette, after Captain John F. W. Dette, an officer who supervised most of its construction. It was arranged for emplacement of artillery on the ends of both decks, it had a light field piece on the bottom deck, and a larger caliber gun, probably a 32- or 24- pounder, on the deck above. The upper deck was supported by upright log and timber walls below, which were pierced at regular intervals with loopholes for riflemen.

This design retained the form of the Greek-Cross design but extended it with a nave. His critics, members of a committee commissioned to rebuild the church, and clergy decried the design as too dissimilar to other English churches to suggest any continuity within the Church of England. Another problem was that the entire design would have to be completed all at once because of the eight central piers that supported the dome, instead of being completed in stages and opened for use before construction finished, as was customary. The Great Model was Wren's favourite design; he thought it a reflection of Renaissance beauty.

Interior view of dome The interior has maintained the original Romanesque Greek cross plan, with a nave and two aisles divided by piers and ending with an apse, but the decoration its largely from the 17th century Baroque renovation. On the walls are tapestries, partly executed in Florence (1583–1586) under Alessandro Allori's design, partly of Flemish manufacture, depicting the Life of Mary. Over the tapestry of the Crucifixion (executed in Antwerp on Ludwig van Schoor's cartoons, 1698) is a painting by Luca Giordano, with the Passage of the Red Sea (1691). Left to the entrance is the sepulchre of Cardinal Guglielmo Longhi, work by Ugo da Campione (1313–1320).

J. Riely Gordon's specialty while practicing in Texas was public buildings, though he also designed houses and commercial structures. He became a master of the Romanesque Revival style that had been introduced to great acclaim by Henry Hobson Richardson with his Trinity Church in Boston in 1877. Returning to the roots of the style in the medieval Auvergne Region of France, Gordon is said to have "out-Richardsonianed Richardson" with his finest Romanesque work in Decatur and Waxahachie, Texas. Gordon's most successful plan—apparently his own unique design, without precedent—was that of a Greek cross with a square central atrium and stairwell, and quarter-circular entrance porches in each corner.

The five legs represent the Stigmata of Jesus Christ and are arranged in the form of a Greek cross. The outer dimensions form a cube, which is the simplest representation of three dimensions, three referring to the Holy Trinity and to the unity of God. Viewed from any side, the legs and top form a tau cross or T-cross. The mensa or top of the altar is composed of four groups of three blocks of wood each: Three stands for the Trinity and thus God and Heaven, four for the Earth (the four winds, four cardinal directions, four corners of the world, etc.).

A distinctive landmark in the Helsinki cityscape, with its tall, green dome surrounded by four smaller domes, the building is in the neoclassical style. It was designed by Carl Ludvig Engel as the climax of his Senate Square layout: it is surrounded by other, smaller buildings designed by him. The church's plan is a Greek cross (a square centre and four equilateral arms), symmetrical in each of the four cardinal directions, with each arm's façade featuring a colonnade and pediment. Engel originally intended to place a further row of columns on the western end to mark the main entrance opposite the eastern altar, but this was never built.

Church of the Intercession on the Nerl The religious architecture of Christian churches in the Middle Ages featured the Latin cross plan, which takes the Roman basilica as its primary model with subsequent developments. It consists of a nave, transepts, and the altar stands at the east end (see cathedral diagram). Also, cathedrals influenced or commissioned by Justinian I employed the Byzantine style of domes and a Greek cross (resembling a plus sign), centering attention on the altar at the center of the church. The Church of the Intercession on the Nerl is an excellent example of Russian orthodox architecture in the Middle Ages.

New York City's 1853 Exhibition was held on a site behind the Croton Distributing Reservoir, between Fifth and Sixth Avenues on 42nd Street, in what is today Bryant Park in the borough of Manhattan. The New York Crystal Palace was designed by Georg Carstensen and German architect Charles Gildemeister, and was directly inspired by The Crystal Palace built in London's Hyde Park to house The Great Exhibition of 1851. The New York Crystal Palace had the shape of a Greek cross, and was crowned by a dome 100 feet in diameter. Like the Crystal Palace of London, it was constructed from iron and glass.

The Carmichael House is located in central Macon, at the northeast corner of Georgia Avenue and College Street. It is a two-story wood frame structure, laid out in the form of a Greek cross, with Ionic-columned porches between the arms of the cross, and a large octagonal cupola rising above the center. The corners of the cross arms have broad pilasters, rising to a full entablature and a dentillated cornice, with fully pedimented gable ends. The central feature of the interior is a free-standing spiral staircase that rises all the way to the cupola, and several of the first-floor public chambers have columned niches.

Borromini was one of several architects involved in the building of the church of Sant’Agnese in Agone in Rome. Not only were some of his design intentions changed by succeeding architects but the net result is a building which reflects, rather unhappily, a mix of different approaches. The decision to rebuild of the church was taken in 1652 as part of Pope Innocent X’s project to enhance the Piazza Navona, the urban space onto which his family palace, the Palazzo Pamphili, faced. The first plans for a Greek Cross church were drawn up by Girolamo Rainaldi and his son Carlo Rainaldi, who relocated the main entrance from the Via di Santa Maria dell'Anima to the Piazza Navona.

44–45 The connection between the sanctuary of Santa Maria della Consolazione and that at Macereto is evident in architectural details and motifs. As at Todi, the Macereto sanctuary is centrally planned, built on a Greek cross system within an octagonal drum. Todi was also built to house a relic that would have been placed in a small chapel beneath the central dome as at Macereto. The architect who had worked on both buildings was Master Filippo Salvi da Meli who worked with Gian Battista da Lugano and it was Gian Battista who remained in charge of the construction until his untimely death in 1539 when he fell from a scaffold whilst completing the arches of the temple.

Notre Dame de Chicago is a Roman Catholic church in the Near West Side community area of Chicago, Illinois. The church was built from 1889 to 1892, replacing an earlier church built in 1865 at a different site. French Canadian architect Gregoire Vigeant designed the church in the Romanesque Revival style; the design has a heavy French influence which can be seen in its Greek cross layout, its hipped roofs and square domes, and the emphasis on height suggested by its two cupolas and its lantern. Due to the declining size of its original French congregation, the Archdiocese of Chicago gave control of the church to the Fathers of the Blessed Sacrament in 1918.

The temple has the shape of a cross when seen from the air; the highest point of the temple is , and it measures from east to west and from north to south. The front exterior was designed in the form of a Greek cross, but lacks a tower, a rarity in LDS Church temples. Apart from the Laie Hawaii Temple, only three other church temples lack towers or spires: the Cardston Alberta, Paris France and the Mesa Arizona temples. Looking up towards the temple from the reflecting pool and Visitors' Center The exterior of the temple exhibits four large friezes planned by American sculptor J. Leo Fairbanks and built with the help of his brother Avard Fairbanks.

Interior of the nave today The apse and the decor of the nave wall arches were likely built at the end of the 5th century and, as such are among the oldest remains. During the Carolingian era changes were made concerning the windows in the upper part of the nave. The first important transformations took place at the end of the 11th century and the 12th century: the nave was divided into three parts by large arches. The bell tower porch is added to the West; the Notre-Dame Chapel, in the form of a Greek cross, is barrel-vaulted and outfitted with a dome; the South Portal is decorated with sculptures.

Raphael's plan for the chancel and transepts made the squareness of the exterior walls more definite by reducing the size of the towers, and the semi-circular apses more clearly defined by encircling each with an ambulatory.Raphael's plan, In 1520 Raphael also died, aged 37, and his successor Baldassare Peruzzi maintained changes that Raphael had proposed to the internal arrangement of the three main apses, but otherwise reverted to the Greek Cross plan and other features of Bramante.Peruzzi's plan, This plan did not go ahead because of various difficulties of both Church and state. In 1527 Rome was sacked and plundered by Emperor Charles V. Peruzzi died in 1536 without his plan being realized.

1863 Following a letter by Bishop Romualdo Jimeno (1846–1872) to Governor General Rafael Echague on the urgent need to repair the cathedral, an architect, Don Domingo de Escondrillas, who is connected with the Office of Public Works based in Cebu is ordered to do a plan for the widening of the cathedral. In his plan, Escondrillas proposes tearing down of the walls of the cruceros and the main altar in order to follow the Greek cross style. The arches are also extended so that it can accommodate 1,400 people more than the 4,300 residents that can be accommodated inside the church. The altar mayor is moved so that it can be seen from any point inside the church.

Many of the earliest buildings were simple gabled rectangles, a style that continued to be built into the seventeenth century. A variation of the rectangular church that developed in post-Reformation Scotland was the "T"-shaped plan, often used when adapting existing churches, which allowed the maximum number of parishioners to be near the pulpit. In the seventeenth century a Greek cross plan was used for churches such as Cawdor (1619) and Fenwick (1643). In most of these cases one arm of the cross would have been closed off as a laird's aisle, meaning that they were in effect "T"-plan churches.A. Spicer, "Architecture", in A. Pettegree, The Reformation World (London: Routledge, 2000), , p. 517.

Dorota Nieznalska 2003 Dorota Alicja Nieznalska (born September 19, 1973) is a Polish visual artist and sculptor. Nieznalska's controversial installation Pasja (2002), which included the placement of an image of the penis upon a metal Greek cross, resulted in a notable scandal, as the display was condemned as immoral and blasphemous by Polish conservative Catholics. The group exhibition at which the installation was presented was closed down by the authorities, while Nieznalska herself faced legal charges on account of an alleged violation of a provision of the Polish criminal code prohibiting blasphemy. The sculptor was successful in fighting off the blasphemy conviction following the favorable ruling of an appeals court in 2009.

Chapel, 2015 Pressed metal ceiling with fleur-de-lis and Greek cross motifs 2015 Rear of chapel, 2015 The chapel, which is at the eastern end of the corridor, is entered through a stained timber door with trefoil arched cutouts, surmounted by a triangular arched transom light. The chapel comprises two identifiable sections, the southern end being the original chapel, and the northern end a later addition; these are separated by a round arched opening in a central wall. The coffered timber ceiling, of the southern end, rakes toward the long sides of the room, to timber brackets which are supported on Norman-inspired corbels. A perforated timber frieze, just below the timber ceiling allows ventilation.

The coat of arms of Greece (, ) comprises a white Greek cross on a blue escutcheon, surrounded by two laurel branches. It has been in use in its current form since 1975. Prior to the adoption of the current coat of arms, Greece used a number of different designs, some of which were not heraldic; the first heraldic design was introduced in 1832 and its main element, the blue shield with the white cross, has been the base for all other national coats of arms since then. The origin of the design is unclear, but it is most likely a heraldic representation of the Greek national flag adopted in 1822, which featured a white cross on a blue field.

The introduction of the blue shield with the white cross as the heraldic device to represent Greece occurred on , when the regency which was governing Greece on behalf of its first king, Otto, announced the official design for the coat of arms. Approved by Prime Minister Josef Ludwig von Armansperg, it detailed the entire heraldic achievement and described, in Greek and German, its constituent parts. The lesser arms are described as an "equidistant azure escutcheon, pointed towards the middle of its lower side, and containing the Greek cross, argent, bearing at its centre a smaller escutcheon with the lozenges of the Royal House of Bavaria." The shade of blue is specified as light blue ().

Hagia Irene is a Greek Eastern Orthodox Church located in the outer courtyard of Topkapı Palace in Istanbul. It is one of the few churches in Istanbul that has not been converted into a mosque Early Byzantine architecture drew upon earlier elements of Roman architecture. Stylistic drift, technological advancement, and political and territorial changes meant that a distinct style gradually resulted in the Greek cross plan in church architecture. Buildings increased in geometric complexity, brick and plaster were used in addition to stone in the decoration of important public structures, classical orders were used more freely, mosaics replaced carved decoration, complex domes rested upon massive piers, and windows filtered light through thin sheets of alabaster to softly illuminate interiors.

As reconstructed by Theodulf in 806, the oratory took the form of a rough square with single apses in the middle of the north, south, and west sides, and three apses on the east side. Internally, the space took the form of a Greek cross: a high central tower filled the central bay, barrel vaults extended off in the north, south, east, and west bays, while in the corner bays there were low domes carried on squinches. This plan type was later to become standard in Byzantine architecture. Horseshoe arches are used throughout the church, an unusual element in French architecture derived, in this case, from the Visigothic practices of Theodulf's native Spain.

Indiana Jones stunt double performing at the show The show opened on August 25, 1989, as the first Indiana Jones attraction at a Disney park, and was put on a six-month hiatus in 2000 for refurbishing. In 2004, the Nazi swastikas on German trucks, aircraft, and actor uniforms were removed and replaced by a stylized Greek Cross. This is the first theme park attraction to use a computer-based show control system in conjunction with a custom made programmable logic controller system to trigger, control and sequence complex live events in real time, controlled by the actors in many cases. All other effects are triggered by a cast member at the booth.

The synagogue was, as already mentioned, a central building over a Greek cross, with a dome on top. The four Byzantine cross arms of the same length of the synagogue were all equipped with a barrel vault,Künzl, p. 290. in which the truss, the columns and the arches were made of cast iron. Except for the Eastern arm the other three arms were equipped with two floors of ladies galleries, while the Torah ark was placed on the eastern arm, where the wall was decorated with stucco by Josef Hartzheim with rhombus and with a theme of intricate quadrangles and painted by Friedrich Petri of Gießen in blue, red and gold.

The interior was lit by large windows, and probably decorated with marble in the lower parts and with mosaics in the vaults and arches. Of the two side buildings, the smaller was in the east, opposite the entrance: a chapel in the shape of a Greek cross, later on octagonal, dedicated to St Hippolytus. The larger building was to the south, having the function of the imperial mausoleum: tradition attributing its foundation to Galla Placidia, which is why the sacellum took on the name of the chapel of the Queen. Between 489 and 511 Bishop Lorenzo had a third structure built to the north, a chapel dedicated to St Sixtus, to be used for the burial of metropolitans.

The bell tower In 1889, the original church was completely torn down and rebuilt from the ground up in the Byzantine Revival style, in the form of an inscribed Greek cross. "Catedrala Mitropolitana 'Sf. Dumitru'" at the Dolj County Culture, Cultural Affairs and National Cultural Patrimony site; accessed September 19, 2012 André Lecomte du Noüy was the architect, and the project was supported by King Carol and Queen Elisabeth. The cornerstone was laid on October 12, 1889. The structure was in place by 1893, Laura Pumnea, Flaviu Dincă, "Craiova: Liber la cununii în Catedrala Mitropolitană", Adevărul, May 10, 2012; accessed September 19, 2012 although the building was not completely finished and blessed until October 26, 1933.

The cornerstone of the first of the great piers of the crossing was laid with ceremony on 17 April 1506. Very few drawings by Bramante survive, though some by his assistants do, demonstrating the extent of the team which had been assembled. Bramante's vision for St Peter's, a centralized Greek cross plan that symbolized sublime perfection for him and his generation (compare Santa Maria della Consolazione at Todi, influenced by Bramante's work) was fundamentally altered by the extension of the nave after his death in 1514. Bramante's plan envisaged four great chapels filling the corner spaces between the equal transepts, each one capped with a smaller dome surrounding the great dome over the crossing.

The interior of this section has the basic form of a Greek cross built around a central chimney, with the angled sections filled with triangular closets and vestibules. The rear of the house, which is its older section, is rectangular, but architectural investigation of the structure has uncovered evidence that it was also at one time octagonal in shape, and was probably made rectangular at the time the front section was built. The older rear portion of the house was built about 1830, and was until 1852 home to Alfred Iverson, Sr., a United States Senator. In 1863 the house was purchased by Leander May, a cabinetmaker who is credited with construction of the main octagonal structure.

The church was built between 1751-1752, originally along an elliptical plan with a complex dome, and consecrated in 1768 by the archbishop of Turin, Francesco Luserna Rorengo di Rorà The addition of two chapels in 1890 altered the layout to resemble more a Greek Cross. The sober neoclassical facade was designed by Barnaba Panizza and added in 1830. Originally the church was affiliated with the Order of the Discalced Trinitarians, but later it was attached to the confraternities of the Santissimo Viatico and later the Sacro Cuore di Gesù (Holy Heart of Jesus). At the beginning of the 19th century it was affiliated with the Society of Saint Vincent de Paul.

Peter McIntyre In November 1944 Weir was promoted to temporary major general and given command of the British 46th Infantry Division, the only officer of a Dominion army to lead a British division during the Second World War. He led his new command during its crossing of the Lamone River and at the end of the year was made a Commander of the Order of the British Empire for his work in Italy. In early 1945, his division was transferred to Greece, which was being contested by left- and right-wing Greek guerrillas after its abandonment by the Germans. The 46th Division supervised the disarmament of guerrilla forces in Greece, work which was personally recognised with Weir receiving the Greek Cross of Valour.

It was begun by Friar Gabriel de las Casas at the end of the 17th century and completed by Fernando de Casas y Novoa in 1740. It is of Greek cross plan with canopy vaults in the arms and central dome of casetones. As part of the complex has been set up as a museum, here you can see a series of figures of the monument of Holy Thursday located on the pillars and the start of the entablature on which the vaults support: the Four Evangelists and the Cardinal and Theological Virtues. From the sacristy there are stairs leading to the high choir, supported by a flat casetonada vault that alternates stone and wood imitating stone to relieve its weight.

The Pisa Baptistery with the Cathedral and Leaning Tower of Pisa The original building plan was a Greek cross with a grand cupola at the crossing, but today the plan is a Latin cross with a central nave flanked by two side aisles on each side, with the apse and transepts having three naves. The inside offers a spatial effect similar to that of the great mosques thanks to the use of raised lancet arches, the alternating layers of black and white marble, and the elliptical dome, inspired by the Moors. The presence of two raised matronea in the nave, with their solid, monolithic columns of granite, is a clear sign of Byzantine influence. Buscheto welcomed Islamic and Armenian influence.

All papal coins, with rare exceptions, bear the name of the pope, preceded (until the time of Paul II) by a Greek cross, and nearly all of the more ancient ones bear, either on the obverse or on the reverse, the words S. PETRUS, and some of them, the words S. PAULUS also. From Leo III to the Ottonian dynasty, the coins bear the name of the Holy Roman Emperor as well as that of the pope. After the sixteenth century the coat of arms of the pope alone frequently appears on pontifical coins. There are also found images of the Saviour, or of saints, symbolical figures of men or of animals, the keys (which appear for the first time on the coins of Benevento) etc.

Michelangelo took over a building site at which four piers, enormous beyond any constructed since ancient Roman times, were rising behind the remaining nave of the old basilica. He also inherited the numerous schemes designed and redesigned by some of the greatest architectural and engineering minds of the 16th century. There were certain common elements in these schemes. They all called for a dome to equal that engineered by Brunelleschi a century earlier and which has since dominated the skyline of Renaissance Florence, and they all called for a strongly symmetrical plan of either Greek Cross form, like the iconic St. Mark's Basilica in Venice, or of a Latin Cross with the transepts of identical form to the chancel, as at Florence Cathedral.

Potent is an old word for a crutch, from a late Middle English alteration of Old French potence "crutch" The term potent is also used in heraldic terminology to describe a 'T' shaped alteration of vair, and potenté is a line of partition contorted into a series of 'T' shapes. In heraldic literature of the 19th century, the cross potent is also known as the "Jerusalem cross" due to its occurrence in the attributed coat of arms of the Kingdom of Jerusalem. This convention is reflected in Unicode, where the character ☩ (U+2629) is named CROSS OF JERUSALEM. The name Jerusalem cross is more commonly given to the more complex symbol consisting of a large Greek cross or cross potent surrounded by four smaller Greek crosses.

After opinions on the request from St. Petersburg, the Building Committee introduced significant modifications to the church making the church conform with the temples of Kiev, which was to emphasize the relationship of the Orthodox Church in Polish lands with the Kiev metropolis and to deny allegations of its foreign origins, and artificial introduction. They were also instructed to erect a bell tower, increasing the total cost to 140 thousand rubles. The Building Committee, wanting to obtain public funding for the investments, accepted the amendment and ordered construction of the church on a plan of a Greek cross with five domes. After the project changes, the building had an area of 776 square meters and a capacity for 800-1000 people in a service.

De re aedificatoria, written by Leon Battista Alberti around 1452, recommends vaults with coffering for churches, as in the Pantheon, and the first design for a dome at St. Peter's Basilica in Rome is usually attributed to him, although the recorded architect is Bernardo Rossellino. This would culminate in Bramante's 1505–06 projects for a wholly new St. Peter's Basilica, marking the beginning of the displacement of the Gothic ribbed vault with the combination of dome and barrel vault, which proceeded throughout the sixteenth century. Bramante's initial design was for a Greek cross plan with a large central hemispherical dome and four smaller domes around it in a quincunx pattern. Work began in 1506 and continued under a succession of builders over the next 120 years.

These included rank or office insignia to be put under or on the sides of the shield. Examples of those insignia were two crossed batons under the shield for marshals, two crossed cannon under the shield for the director of the artillery branch, two towers in the dexter and sinister of the shield for the director of the engineering branch, a Greek cross under the shield for the director of the military health service and a collar with flaming grenades and cog-wheels around the shield for the director of the ordnance service. However, the present regulations include only achievements of arms for bodies. The heraldic flags used by the bodies of the Army are the flags to be flown, the standards (estandartes) and the pennants (flâmulas).

The dome Wren drew inspiration from Michelangelo's dome of St Peter's Basilica, and that of Mansart's Church of the Val-de-Grâce, which he had visited. Unlike those of St Peter's and Val-de-Grâce, the dome of St Paul's rises in two clearly defined storeys of masonry, which, together with a lower unadorned footing, equal a height of about 95 feet. From the time of the Greek Cross Design it is clear that Wren favoured a continuous colonnade (peristyle) around the drum of the dome, rather than the arrangement of alternating windows and projecting columns that Michelangelo had used and which had also been employed by Mansart. Summerson suggests that he was influenced by Bramante's "Tempietto" in the courtyard of San Pietro in Montorio.

The regalia of the Order bears some similarity to that of a Masonic Knight Templar, and consists of a stone white tunic, on the front of which is a Latin Cross, Medici Crimson, four inches wide, the full length of the tunic, on which is superimposed a white Latin Cross one-third the width. The intersection of the Cross is charged with a Bronze Escallope Shell, four inches diameter. Over the tunic is worn a stone white mantle with hood; on the left breast, a Greek Cross of ten inches length, upon which is a smaller white cross, the intersection of which is charged with a Bronze Escallope Shell. Knights also wear a crimson velvet cap, the front of which is charged with a Bronze Escallope Shell.

The decoration consists of a Greek cross displaying the image of St. John the Evangelist on the right, St. John the Baptist on the left, St. Peter at top, and St. Paul at the bottom. Christ the Redeemer is displayed at the center of the cross. The reverse side of the cross is engraved with the names, in Latin, of each saint depicted (Joanes, Batis, Petrus, Paulus), as well as the symbol of Christ (P and X inside a circle). A button located above the cross is inscribed with the phrase: Sacrosancta lateranensis ecclesia - omnium urbis et orbis ecclesiarum mater et caput (The sacred and holy church of the Lateran - the mother and the head of all of the churches of the city and the world).

He was born at Melide, a village on the Lake Lugano, at that time joint possession of some Swiss cantons of the old Swiss Confederacy, and presently part of Ticino, Switzerland, and died at Naples. He went to Rome in 1563, before the death of Michelangelo, to join his elder brother. He won the confidence of Cardinal Montalto, later Pope Sixtus V, who entrusted him in 1584 with the erection of the Cappella del Presepio (Chapel of the Manger) in Basilica di Santa Maria Maggiore, a powerful domical building over a Greek cross. It is a marvellously well-balanced structure, notwithstanding the profusion of detail and overloading of rich ornamentation, which in no way interferes with the main architectural scheme.

The architect Albert Schmidt has used pre-Reformation styles in order to please the Roman Catholic city rulers: The exterior architecture is built in Romanesque forms, while the interior is reminiscent of the early Rhenish Gothic based on the geometric shape of a Greek cross. In the east there is a three-sided apse, the western facade is seven-sided and has square towers. St. Luke's had some artistically outstanding stained glass windows from 1896–99, which had been created by the München Mayer'sche Hofkunstanstalt (Mayer's court art workshop Munich) after drafts of the Englishman Charles Dixon, one of the best-renowned glass painter of his time. Those windows were destroyed irretrievably during the great air raid of 6/7 September 1943.

The plan that was accepted at the laying of the foundation stone in 1506 was that by Bramante. Various changes in plan occurred in the series of architects that succeeded him, but Michelangelo, when he took over the project in 1546, reverted to Bramante’s Greek-cross plan and redesigned the piers, the walls and the dome, giving the lower weight-bearing members massive proportions and eliminating the encircling aisles from the chancel and identical transept arms. Helen Gardner says: "Michelangelo, with a few strokes of the pen, converted its snowflake complexity into a massive, cohesive unity." Michelangelo’s dome was a masterpiece of design using two masonry shells, one within the other and crowned by a massive roof lantern supported, as at Florence, on ribs.

The present entrance from Middleborough Road was established in 1973 to eliminate the need for funeral traffic to cross the railway line and the Whitehorse Road entrance avenue was passed over to the then City of Box Hill in 1979. Two notable features within the cemetery are the large lych-gate or commemorative arch built in 1923 to mark the 50th anniversary of the cemetery; and the columbarium built in 1929 as a repository for cremated remains. Designed by architects Rodney Alsop and A. Bramwell Smith and built by T. F. Crabbe, this building is in the form of a Greek cross; it has a Spanish-tiled gable roof and octagonal tower with a copper dome. While the exterior appearance has a distinctive Mediterranean flavour, the proportions of the exterior are Byzantine.

At Santa Maria degli Angeli, Michelangelo achieved a sequence of shaped architectural spaces, developed from a Greek cross, with a dominant transept, with cubical chapels at each end, and the effect of a transverse nave. There is no true facade; the simple entrance is set within one of the coved apses of a main space of the thermae. The vestibule with canted corners and identical side chapels—one chapel has the tomb of Salvator Rosa, the other of Carlo Maratta—leads to a second vestibule, repeated on the far side of the transept, dominated by the over lifesize Saint Bruno of Cologne by Jean Antoine Houdon (1766). Of the Saint Bruno, Pope Clement XIV said that he would speak, were it not for the vow of silence of the order he founded.

Santi Gioacchino e Anna ai MontiSanti Gioacchino ed Anna ai Monti (Saints Joachim and Anne on the hills) is a church on the Via Monte Polacco in Rome. Pope Clement XIII demolished a thirty-seven-year-old Minim monastery on this site (founded in 1723 by Fr. Francesco Narici) in 1760 to make way for a new monastery and the present church. The church, on a Greek cross plan, barrel- vaulted and with a central dome, was consecrated in 1781 by Pope Pius VI. Its 18th-century façade has four pilasters with Corinthian capitals and is crowned by an undecorated tympanon. The main decorations are stucco cherubs, including a tympanum above the high altar with cherubs in glory and a painting of the Madonna, St Anne and St Joachim.

The church was built on the plan of a Greek cross coupled with an octagonal sanctuary, and at the intersection of the arms of the cross, a dome was built on the drum. The structure of the church has an interesting arrangement where the proportions have retained their original appearance including the interior which did not undergo major changes, keeping the decor from the end of the 17th century. The decor of the interior painting shows the life and work of the church's patron, St Anthony of Padua, with 63 of 69 images showing scenes from the life of the patron saint. In the nave there is a series of eight vertical paintings which show scenes of healings performed by him, and the last of the frescoes shows the moment of his death.

Post-missionary church and monastery in Lublin - the church of the Transfiguration of Our Lord in Lublin was erected in the years 1717–1730 for a seminary of the Congregation of the Mission, after the suppression of the monastery by Russians during the time of the Partitions of Poland taken over by the diocese. It was built in the Baroque style, laid out on the plan of a Greek cross with a cupola above the transept. The 19th century neo-Gothic chapel adjacent to the church has a modern iconostasis designed by Jerzy Nowosielski and is today used by Greek Catholic alumni. The palace from the first half of the 17th century, with its relief decorated with scenes from Polish history is the oldest part of the monastery.

Ogham Standing stone at Reask Reask () is a ruined early Monastic site located 1 km east of Baile an Fheirtéaraigh, County Kerry, Ireland. Although nothing remains of the buildings but low walls and a cross-slab standing stone which sits in the middle of the compound, this site gives a very good idea of the layout of a small monastery of the Early Medieval period. Excavations by Tom Fanning in the 1970s revealed the ruins of an oratory, several clocháns (stone huts), some conjoined, a graveyard and about ten decorated stone slabs, of which one is a particularly fine example. This pillar measures 1.64 metres in height and is 0.6 metres wide by 0.26 metres thick and is decorated with an encircled Greek cross from which are pendant spiral designs terminating in a pelta.

The Tomb of the Unknown Soldier visible from the internal crypt The crypt of the Italian Unknown Soldier is located under the equestrian statue of Victor Emmanuel II which can be accessed from the Shrine of the Flags museum, from where it is possible to see the side of the shrine of the Unknown Soldier that faces towards the interior spaces of the Vittoriano. It is therefore located at the Altar of the Fatherland, from which the side of the tomb that faces towards the outside of the building is seen instead. The crypt of the Unknown Soldier is the work of the architect Armando Brasini. It is a room in the shape of a Greek cross with a domed vault which is accessed via two flights of stairs.

On 29 November 1910, at the time of the 50-year anniversary of the establishment of a Presbyterian charge in Queanbeyan, the congregation donated to the church in her honour a stained glass window bearing a Greek cross, Anchor Cross and "IHS", and the phrase from Revelations 2:10 "Be thou faithful unto death and I will give thee a crown of life". It was unveiled by Amy's daughter Ruby, who was the wife of the incumbent minister, the Reverend E. Sydney Henderson. At the same time, the family donated to Amy's memory a memorial tablet that was erected over the pulpit. The 1910 jubilee ceremony was also the occasion on which Charles Henry McKeahnie presented to the church a baptismal font of prized Oamaru limestone from New Zealand.

Carlo Fea, an expert on the Ancient Rome and the "president of Roman antiquities," helped Andrić at the start of Andrić's career. Andrić was deeply influenced by Fea's book Sacral and profane buildings. Andrić's four years long stay in Rome was crucial not only for his education, but also for his commitment to classicism and fascination by the antique period, which he later used in studying and preserving the Diocletian's Palace in Split. In Rome, Andrić projected several important concept designs: an inn (1814), a triumphal arc for the Austrian emperor Francis II (1815), a circular temple and a cathedral in the form of a Greek cross for a large city with a capitol and a seminary (both projects also in 1815) and a concept design of a casino and theater in Split (1816).

Perfecting the chapel had necessitated a long process of iteration and re-design to meet the wishes of the Cemetery Directors for a new nondenominational style. William Hosking mastered the brief admirably, providing them with a chapel building that achieved the company's objective remarkably well, both in its choice of materials and style of design. However, of equal significance was its layout in plan section; for the chapel comprised just a single internal chamber that would be available to all, regardless of denomination; marking the chapel out in a practical, functional sense, in addition to its external appearance, as the first nondenominational cemetery chapel in Europe. Moreover, its cruciform plan adopted equal arms as in a Greek cross, giving conceptual strength to this concept of equality before God, through its design approach.

Transepts are reduced to stubs that emphasize the altars of their end walls. Dome The plan synthesizes the central planning of the High Renaissance, expressed by the grand scale of the dome and the prominent piers of the crossing, with the extended nave that had been characteristic of the preaching churches, a type of church established by Franciscans and Dominicans since the thirteenth century. Everywhere inlaid polychrome marble revestments are relieved by gilding, frescoed barrel vaults enrich the ceiling and rhetorical white stucco and marble sculptures break out of their tectonic framing. The example of the Gesù did not completely eliminate the traditional basilica church with aisles, but after its example was set, experiments in Baroque church floor plans, oval or Greek cross, were largely confined to smaller churches and chapels.

It was the first Baroque country house in Denmark, replacing the earlier Renaissance style. The inspiration came from Holland and the architect was probably Ewert Janssen.. One of the foremost designers of the times was the Danish architect Lambert van Haven whose masterpiece was the Church of Our Saviour, Copenhagen (1682–96) which relies on the Greek cross for its basic layout. The façade is segmented by Tuscan pilasters extending up to the full height of the building. Other features such as the distinctive corkscrew spire were however not undertaken until the reign of Frederick V. It was Lauritz de Thurah who finally completed the building in 1752.. Charlottenborg (1672–83), on Kongens Nytorv in the centre of Copenhagen, is said to be the most important pure Baroque building remaining in Denmark.

The St Stephen's Chapel and its churchyard were registered on 1 September 1983 by the New Zealand Historic Places Trust (now Heritage New Zealand) as a Category I historic place with registration number 22. Designed by Frederick Thatcher, the chapel replaced an earlier one that had been built in 1844 by Sampson Kempthorne, which had collapsed in July 1845. Thatcher's chapel was opened in early 1857. The chapel is unique in that it was almost certainly built specifically as the place of signing of the constitution of the United Church of England and Ireland in New Zealand, and its floor plan is a Greek Cross as a symbol of the establishment of the church, whilst all other churches built for Bishop Selwyn use the traditional Latin cruciform plan.

The interior of the church Christ in the dome mosaic Arabic Inscription in Martorana Church, Palermo, Italy The original church was built in the form of a compact cross-in-square ("Greek cross plan"), a common variation on the standard middle Byzantine church type. The three apses in the east adjoin directly on the naos, instead of being separated by an additional bay, as was usual in contemporary Byzantine architecture in the Balkans and Asia Minor.Kitzinger, Mosaics, 29-30. In the first century of its existence the church was expanded in three distinct phases; first through the addition of a narthex to house the tombs of George of Antioch and his wife; next through the addition of a forehall; and finally through the construction of a centrally- aligned campanile at the west.

The first official notice regarding the building dates to 1256 and is found in a deed of sale of the Orsini family, where it is mentioned as the site of a tiny village protected by a double wall. In the medieval period, perhaps the Eleventh century, the arch was transformed into a Greek-cross church through the closure of the four archways and the construction of an apse on the east side. The paved road running under the vault was diverted. Ceramic model of the Arch of Malborghetto transformed into a church The toponym Malborghetto (literally "evil-ville" or "pain-ville") is more recent and is thought to refer to the sudden devastation at the hands of the Orsini in 1485 to drive off the Colonna who had taken possession of it with the permission of the Pope.

The famous three towers of the Middle Ages: the Saint-Nicolas Church, the Belfry and the Saint Bavo Cathedral and the modernist Booktower. Constructed in concrete – an innovation in those days – using the then equally innovative technique of sliding shuttering, the tower was given the shape of a Greek cross to symbolize the connection between time and space, and merging heaven and earth. Twenty storeys above and four below ground level accommodate a line-up of some 46 kilometres of printed material, or over 3 million items. Supporting the vertical lines of the tower and the books on the shelves are the horizontal lines of the open books on the long tables of the magnificent reading-room, the rectangular courtyard that bathes in daylight, and the reading-room for manuscripts, safely shielded from daylight at the north side of the edifice.

Pars crucis est omne robur, quod erecta statione defigitur; nos, si forte, integrum et totum deum colimus. Diximus originem deorum vestrorum a plastis de cruce induci. In his book De Corona, written in 204, Tertullian tells how it was already a tradition for Christians to trace repeatedly on their foreheads the sign of the cross."At every forward step and movement, at every going in and out, when we put on our clothes and shoes, when we bathe, when we sit at table, when we light the lamps, on couch, on seat, in all the ordinary actions of daily life, we trace upon the forehead the sign" (De Corona, chapter 3) While early Christians used the T-shape to represent the cross in writing and gesture, the use of the Greek cross and Latin cross, i.e.

On the southern wall of the room, adjacent to where a raised platform indicates the chancel area, are four fine stained glass window panels, in trefoil arched openings, depicting the four Evangelists and from the Royal Bavarian Art Institute for Stained Glass. The eastern wall of the front section of the cheap features large pointed arched window openings, with grisaille stained glass panels. The more rudimentary rear section of the chapel has a timber fireplace, a walk through sash window and French door with transom light opening to the adjacent verandah. To the north of the chapel, and separated by a stair hall, is the 1914 addition, which comprises large rooms with Wunderlich pressed metal ceilings featuring fleur-de-lis and Greek cross motifs and rendered walls with dado and picture rails impressed in the plaster.

Photo by Paolo Monti, 1967 The title was established on 5 February 1965 by Pope Paul VI. The original scheme was part of the 1936 Fascist scheme for hosting the World Exhibition in 1942, which never took place because of World War II but which left a legacy of monumental buildings in a rather megalomaniac layout. The church was planned for a high point at the west end of the site, and was entrusted to a committee of architects: Arnaldo Foschini, Alfredo Energici, Vittorio Grassi, Nello Ena, Tullio Rossi and Costantino Vetriani. They chose a plan based on a Greek cross, in deliberate emulation of the original plan for the new St Peter’s by Michelangelo. Construction began in 1939, but was delayed by the war and by a lack of enthusiasm on the part of the Diocese to be involved.

Kalenderhane Mosque in Istanbul The larger scale of some Byzantine buildings of the 12th century required a more stable support structure for domes than the four slender columns of the cross-in-square type could provide. The Byzantine churches today called Kalenderhane Mosque, Gül Mosque, and the Enez Fatih mosque all had domes greater than in diameter and used piers as part of large cruciform plans, a practice that had been out of fashion for several centuries. A variant of the cross-in-square, the "so- called atrophied Greek cross plan", also provides greater support for a dome than the typical cross-in-square plan by using four piers projecting from the corners of an otherwise square naos, rather than four columns. This design was used in the Chora Church of Constantinople in the 12th century after the previous cross-in-square structure was destroyed by an earthquake.

The cathedral is built on a Greek cross floorplan, and houses a wooden crucifix of the 11th century from Tusculum,Tusculum was the place of origin of the bishopric now seated in Frascati a Madonna (Mysteries of the Rosary) attributed to Domenichino, a relief by Pompeo Ferrucci (1612) representing Jesus handing over the keys to Saint Peter, and a 14th-century Madonna and Child in the Chapel of the Gonfalone, that was retouched by Domenichino. On the interior side of the west front there is a bronze "Holy Year Cross" of 1750. The interior of the cathedral was destroyed by bombing on September 8, 1943, and so today it appears bare, except for a little chapel off to the right. In the nave, on the inner side of the façade, there is a white marble funerary monument to Charles Edward Stuart, the Young Pretender, with a memorial tablet.

But undoubtedly the most striking architectural achievement of the new city was the reconstruction of St Paul's Cathedral and the City Churches by Christopher Wren, the preeminent architect of the English Baroque movement. Much like his masterplan for the reconstruction of the city, Wren's original design for the new St Paul's Cathedral was also rejected and a compromise design had to be reached as a result. Inspired by St Peter's Basillica in Rome, Wren originally wanted to build a domed baroque style cathedral built in a Greek cross layout, but this design was rejected by the church as a result of the excessive papist connotations of this very Southern European design. In an act of compromise, the design that was eventually built is a hybrid design which utilises baroque ornamentation and a great dome but built on the Latin cross layout of the former gothic cathedral.

The neoclassical exterior expresses the traditional Russian-Byzantine formula of a Greek-cross ground plan with a large central dome and four subsidiary domes. It is similar to Andrea Palladio's Villa Capra "La Rotonda", with a full dome on a high drum substituted for the Villa's low central saucer dome. The design of the cathedral in general and the dome in particular later influenced the design of the United States Capitol dome,Ernest B. Furguson, Freedom Rising, page 54 Wisconsin State Capitol in Madison, Wisconsin, and the Lutheran Cathedral in Helsinki. The exterior is faced with gray and pink stone, and features a total of 112 red granite columns with Corinthian capitals, each hewn and erected as a single block: 48 at ground level, 24 on the rotunda of the uppermost dome, 8 on each of four side domes, and 2 framing each of four windows.

Jerusalem cross based on a cross potent (as commonly realised in early modern heraldry) Jerusalem cross of five Greek crosses (late medieval variant) The conventional arms of the Kingdom of Jerusalem, Argent, a cross potent between four plain crosslets OrWilliam Wood Seymour, The Cross in Tradition, History and Art, 1898, p. 364 The Jerusalem cross (also known as "five-fold Cross", or "cross-and-crosslets") is a heraldic cross and Christian cross variant consisting of a large cross potent surrounded by four smaller Greek crosses, one in each quadrant. It was used as the emblem and coat of arms of the Kingdom of Jerusalem from the 1280s. There are variants to the design, also known as "Jerusalem cross", with either the four crosslets also in the form of Crosses potent, or conversely with the central cross, also in the form of a plain Greek cross.

Sofia's Alexander Nevsky Cathedral and Belgrade's Church of Saint Sava are examples, and used Hagia Sophia as a model due to their large sizes. Synagogues in the United States were built in a variety of styles, as they had been in Europe (and often with a mixture of elements from different styles), but the Byzantine Revival style was the most popular in the 1920s. Domed examples include The Temple of Cleveland (1924), the synagogue of KAM Isaiah Israel (1924) in Chicago, based upon San Vitale in Ravenna and Hagia Sophia in Istanbul, and the synagogue of Congregation Emanu-El (1926) in San Francisco. In the United States, Greek Orthodox churches beginning in the 1950s tended to use a large central dome with a ring of windows at its base evocative of the central dome of Hagia Sophia, rather than more recent or more historically common Byzantine types, such as the Greek-cross-octagon or five-domed quincunx plans.

View into frescoed cupola and pendentives; apse on left, entrance with organ and tomb of Pope Innocent X on right The building of the church was begun in 1652 at the instigation of Pope Innocent X whose family palace, the Palazzo Pamphili, is adjacent to this church. The church was to be effectively a family chapel annexed to their residence (for example, an opening was formed in the drum of the dome so the family could participate in the religious services from their palace).The Doria-Pamphili family own the church to this day. The first designs for a centralised Greek Cross church were prepared by the Pamphili family architect, Girolamo Rainaldi, and his son Carlo Rainaldi in 1652. They reorientated the main entrance to the church from the Via Santa Maria dell’Anima, a street set one urban block away from the piazza, to the Piazza Navona, a large urban space that Innocent was transforming into a showcase associated with his family.

In his book De Corona, written in 204, Tertullian tells how it was already a tradition for Christians to trace repeatedly on their foreheads the sign of the cross."At every forward step and movement, at every going in and out, when we put on our clothes and shoes, when we bathe, when we sit at table, when we light the lamps, on couch, on seat, in all the ordinary actions of daily life, we trace upon the forehead the sign" (De Corona, chapter 3) While early Christians used the T-shape to represent the cross in writing and gesture, the use of the Greek cross and Latin cross, i.e. crosses with intersecting beams, appears in Christian art towards the end of Late Antiquity. An early example of the cruciform halo, used to identify Christ in paintings, is found in the Miracles of the Loaves and Fishes mosaic of Sant'Apollinare Nuovo, Ravenna (6th century).

Church of SS. Claudius and Andrew of the Burgundian, Rome Antoine Dérizet (November 16, 1685Collection of the French School in Rome, copy of the baptismal certificate, 2004, p. 267 – October 6, 1768), of Lyon, was an experimentally classicizing French Late Baroque architect who spent much of his career in Rome, where he designed the churches of Church of SS. Claudius and Andrew of the Burgundian (1729?),Date given in Touring Club Italiano, Roma e dintorni, 1965, p. 178. where he experimented with reviving the High Renaissance central planning of a Greek cross surmounted by a central dome, and, facing Trajan's Forum, Santissimo Nome di Maria (1736–38),Dates given in Touring Club Italiano, Roma e dintorni, 1965, p. 143. which is elliptical in plan, with radiating chapels. He also provided designs for the marble revetment and stuccoes added to the interior of San Luigi dei Francesi (1759–64).Touring Club Italiano, Roma e dintorni, 1965, p. 200.

The 32 medallions distributed around the building are similar in size and shape, varying the decorative designs and the interior figures (quadrupeds, birds, bunches of grapes, fantastic animáis), a style inherited from the Visigoth period, in turn descended from Byzantine tradition. The medallions have decorative bands above them, again framed by rope moulding, inside which four figures are sculpted and arranged symmetrically; the upper two carrying loads on their heads and the lower two representing soldiers on horseback carrying swords. These figures seem to have some kind of symbolic social meaning; the warriors who defend and support the men of prayer (here offerers),or alternatively, the royal and ecclesiastic orders complementing each other. Santa María del Naranco shows other, equally beautiful and important sculptural elements; for the first time, a Greek cross appears sculpted as emblem of the Asturian monarchy, at the same time protecting the building from all evil, something which was to become habitual in the popular architecture of towns and villages.

The building has a fine Liberty style tending towards Moorish; with only one raised floor, it is 350 square metres large, with a magnificent garden enriched by fountains and elegant seats. On the main façade (still surmounted by the owner’s coat of arms and his initials) there is a big balcony with a fine marble parapet, with some carvings with the shape of a Greek cross, and five artistic openings. There are 14 rooms, with the ballroom, about 110 square metres large, in the middle of them. After the restoration made in 1980 (made according to the project of the architects Valeria De Folly, Dannis and Carlo Bruschi), this room has become a more functional space, like a corner rich with different plants, well-lighted by a large skylight and a big white chandelier made of Murano glass dated 1943. The furniture is very appropriate, as they have maintained the family’s one, dating back to the early 1900s; there are also two beautiful fireplaces of grey marble, the first is located in the hall and the other in the main bedroom.

St Andrew's in the Square, Glasgow, one of the first Scottish churches influenced by James Gibbs In the eighteenth century established patterns continued, with T-shaped churches with steeples on the long side, as at New Church, Dumfries (1724–27), and Newbattle Parish Church (1727–29). William Adam's Hamilton Parish Church (1729–32), was a Greek cross plan inscribed in a circle, while John Douglas's Killin Church (1744) was octagonal. Scots-born architect James Gibbs was highly influential on British ecclesiastical architecture. He introduced a consciously antique style in his rebuilding of St Martin-in-the-Fields, London, with a massive, steepled portico and rectangular, side-aisled plan. Similar patterns in Scotland can be seen at St Andrew's in the Square (1737–59), designed by Allan Dreghorn and built by the master mason Mungo Nasmyth, and at the smaller Donibristle Chapel (completed 1731), designed by Alexander McGill. Gibbs' own design for St. Nicholas West, Aberdeen (1752–55), had the same rectangular plan, with a nave- and-aisles, barrel-vaulted layout with superimposed pedimented front.

Although often referred to as a 'Greek Cross' church, this building does not really fall into this category, as it has no projecting 'arms' or transepts, only a single apse on three sides, and a triple apse to the 'east' (the church is not aligned to the compass points). The triple apse would not appear to have been mirrored to the 'west' where the entrance was and is to be found, subsequent alteration has made it impossible to determine whether there was originally a narthex. The church is also architecturally quite distinct from the Palatine chapel in Aachen, and from S. Vitale in Ravenna – two buildings upon which it is often claimed that SS.Geneviève & Germain is modelled – in that it is square rather than round, has exterior apses and is constructed differently. This is rather a rare survival of a very early form of Western European church, pre-dating and perhaps contributing to the development of the Romanesque which forms the majority of ancient churches in France and, indeed, in Western Europe.

The Meritorious Service Medal, for both divisions, is in the form of a circular, silver disc with, on the obverse, a raised Greek cross, the ends splayed and rounded, a laurel wreath visible between them, and a St. Edward's Crown, as a symbol of the Canadian monarch's role as the fount of honour, capping the top arm beyond the circumference of the medal. At the cross' centre is a roundel bearing a maple leaf, and on the reverse is two concentric circles, the inner one containing an etched Royal Cypher of the reigning monarch and Commander-in- Chief of the Canadian Forces, and the outer one engraved with the words MERITORIOUS SERVICE MÉRITOIRE. This medallion is worn on the left chest, on a wide, blue and white ribbon; however, that for the military division has only four white stripes, paired and centred on the outer third of each side of the ribbon, while that for the civilian division has an additional 1mm wide white stripe centred between the other four. For men, the cross is hung from a bar, and for women, on a ribbon bow, both pinned to the left chest.

The medallions have decorative bands above them, again framed by rope moulding, inside which four figures are sculpted and arranged symmetrically; the upper two carrying loads on their heads and the lower two representing soldiers on horseback carrying swords. These figures seem to have some kind of symbolic social meaning; the warriors who defend and support the men of prayer, or alternatively, the royal and ecclesiastic orders complementing each other. Santa María del Naranco shows other, equally beautiful and important sculptural elements; for the first time, a Greek cross appears sculpted as emblem of the Asturian monarchy, at the same time protecting the building from all evil, something which was to become habitual in the popular architecture of towns and villages. Other sculptural elements, such as the capitals of Corinthian inspiration on the miradors' triple-arched Windows or the altar stone in the eastern mirador (originally from the neighbouring Church of San Miguel de Lillo), make this palace the most distinctive building in Pre-Romanesque, a singularity highlighted by being the only palace complex that has lasted until the present day with both Visigothic and Carolingian court structures.

Arcangelo worked further on the church of Gesù delle Monache in 1692. In 1678 he worked in Santa Maria della Consolazione agli Incurabili and the chapel of San Biagio in Santa Maria della Stella. Following the earthquake of 1688 the presbytery was expanded, and an elliptical dome was added to the small church of the Cross of San Agostino. Starting from 1694 in the same church, Arcangelo in collaboration with Lorenzo Vaccaro, provided the stucco ornamentation. In 1682, Arcangelo helped design the baroque facade Santa Maria in Portico a Chiaia. From 1690 to 1693, Arcangelo worked on the reconstruction of the church of Santa Maria del Rosario alle Pigne (Rosario al largo delle Pigne). The plan there was a pseudo-Greek cross with transverse arms shorter than longitudinal nave. He also designed the atrium (1708) with statues in niches. Starting in 1691 he worked in the Augustinian monastery of Santa Maria degli Angeli a Pizzofalcone, where he modified Francesco Picchiatti and Cosimo Fanzago's original project from 1646 (construction began in 1661). Here the final plan recalls the church of Santa Maria dell'Aiuto (where Arcangelo worked under Lazzari in 1672). Also by Arcangelo are the design of San Michele Arcangelo in Anacapri (1698) and Santa Maria delle Grazie, in Piazzetta Mondragone (begun 1715).