695 Sentences With "Latin cross" | Random Sentence Generator

Above that amphitheatre were shown two stars and a Latin cross.

"If Congress can expressly reference the Latin cross as the basis for the plan for the National Mall, the City of Bladensburg can erect a Latin cross as a memorial to American veterans," the group told the court.

It has never upheld a solitary Latin cross, let alone one four stories high.

"The Latin cross is the core symbol of Christianity," Judge Stephanie Thacker wrote for the majority.

The religious symbols inscribed on the gravestones included the Latin Cross, Star of David, Star and Crescent and more.

"A Latin cross is not merely a reaffirmation of Christian beliefs," Justice Anthony M. Kennedy wrote in a plurality opinion.

On Wednesday, the justices heard arguments in a case concerning a towering Latin cross maintained by a government agency in Maryland.

American Humanist Association, a thorny religious-freedom case that centers on a four-story concrete Latin cross in the middle of a Maryland highway.

Since 1925 Bladensburg in Maryland has been home to a 40-foot Latin cross honouring 49 men from Prince George's County who died in the fighting.

At one point, Alito argued that a religious symbol like the Latin cross—a symbol indisputably linked to Christianity and its fundamental beliefs—can be secularized.

The justices sparred over the meaning of a Latin cross erected in 1925 that looms large over a crowded Maryland intersection in the suburbs of the nation's capital.

At issue in the case itself is a 40-foot concrete Latin cross that stands in the traffic island of a Maryland highway between Washington, D.C., and Baltimore.

The Supreme Court voted to allow a 2000-foot Latin cross to stand on public ground in June, with Kavanaugh and Gorsuch forming part of the seven-justice majority.

The case concerned a giant, early 20th century Latin cross, known as the Bladensburg Peace Cross, that stands in a Maryland intersection in the suburbs of the nation's capital.

Contributing Opinion Writer Even before last month's Supreme Court argument, the smart-money consensus was that those challenging the Latin cross that stands 40 feet tall on public land in Bladensburg, Md., would lose.

" The brief invoked a provocative comparison: "African-American sculptors who have designed Latin-cross-shaped sculptures for Lutheran churches would know that those same items express different messages if created for an Aryan Nations Church event.

" The brief invokes a provocative comparison: "African-American sculptors who have designed Latin-cross-shaped sculptures for Lutheran churches would know that those same items express different messages if created for an Aryan Nations Church event.

"When the government prominently displays a large Latin cross as a war memorial, it does more than just align the state with Christianity; it also callously discriminates against patriotic soldiers who are not Christian," they told the court.

Contributing Opinion Writer The Supreme Court's decision in last term's big religion case, on the constitutionality of a Latin cross that stands 40 feet tall on public land in Bladensburg, Md., left both sides in the religion wars unsatisfied.

The justices agreed to weigh whether the Latin cross erected 93 years ago as a memorial for residents of Prince George's County who died in combat in World War I violates a clause of the Constitution banning governments from establishing any religion.

The 6900th Circuit Court of Appeals said the memorial violates the separation between church and state, as well as the Establishment Clause of the Constitution, which bars the government from establishing one religion because the Latin cross is the core symbol of Christianity.

And defending the Mojave Desert Veterans Memorial, a lone white Latin cross that was erected to honor the men and women who gave their lives in World War I. I represented 3 million veterans for free defending that memorial and we won 5-4 before the Supreme Court.

One is the 13-foot-tall Latin cross called the Argonne Cross, dedicated in 1923 to the "memory of our men in France," and another is the Canadian Cross of Sacrifice, which stands 24 feet tall and was donated by the Canadian government to honor Americans who died in war.

"The Latin cross is the foremost symbol of the Christian faith, embodying the central theological claim of Christianity: that the son of God died on the cross, that he rose from the dead, and that his death and resurrection offer the possibility of eternal life," Ginsburg declared in the case of American Legion v.

1955]; p. 72 There is a Cornish cross near the hamlet of Predannack. It has a broad Latin cross on the front and an incised Latin cross on the back.Langdon, A. G. (1896) Old Cornish Crosses.

A Latin cross plan is a floor plan found in many churches and cathedrals.St. Peter's in the Vatican, ed. William Tronzo (Cambridge: Cambridge University Press, 2005), p. 275 When looked at from above or in plan view it takes the shape of a Latin cross (crux immissa).

The parish church was constructed in 1754 and was widened to a Latin Cross architecture in 1952.

The Cathedral has a shape of a Latin cross, combined with the building of a single sign seminary.

It dates probably from the 16th century and was built in the shape of a vaulted Latin cross.

Rattelsdorf's coat of arms might heraldically be described thus: Argent on ground vert a church gules with roof and cupola azure, the latter surmounted by a Latin cross Or, before the church a pine tree vert, above the church and sinister, an arm clad sable, the hand holding a Latin cross sable.

"The Women of Arlington." American Legion Auxiliary National News. March–April 1988, p. 30. Latin cross of white marble from Vermont.

Interior of the Church Dome architecture came to Alania via cross-shaped churches. Before that, basilicas dominated Alanian architecture. The church involved unusual planning – in the form of a semi-free Latin cross, while the original project of 920s was more akin to a free Latin cross. The church is built from rough sandstone blocks on lime using shell masonry.

The temple of plant of Latin cross, shows a single ship and cruise, on which the octagonal dome rises, covered in the outside by tiles.

Most pentecostals do not make the sign of the cross at all. In fact, some Pentecostal churches do not include the latin cross in their church.

Federation of Old Cornwall Societies; pp. 35–36 Fig. e5: Fentongollan Cross Fentongollan Cross is a wayside Latin cross in the parish of St Michael Penkevil.

The architectural firm of Heins & LaFarge designed Houghton of gray stone in the classic Latin cross floor plan. The exterior walls are pierced by stained glass windows.

The Catholic Church of Saint Thomas Apostle was built in the past but it still keeps the Bell's Tower, the main Latin cross plant and the cemetery.

The cathedral combines two styles Baroque and neoclassical. The Cathedral of Cuautitlán is a temple of Latin Cross, of high proportions, a ship with cruise of Baroque columns.

It has a Latin cross plant, and a single nave and cruise ship, where the dome rises. The cover is of neoclassical style, with two bodies and auction.

The architect of the church building was Richard England. It is a modern-style church, not in the Latin cross style as most other parishes of the Maltese islands.

The combination of the letter M with a Latin cross is found as part of the 1830 design of the Miraculous Medal (also known as the Medal of Our Lady of Graces based on Saint Catherine Labouré revelations). In that design the letter M is surmounted by a normal Latin cross standing on a bar interlaced with the letter M.Association of the Miraculous MedalGlass, Joseph. "Miraculous Medal." The Catholic Encyclopedia Vol. 10.

Vasilescu The crest consists of a seven-towered mural crown, argent, over which stands a stylised eagle, sable, with wings displayed, facing dexter, with a Latin cross in its beak.

The monument is 6 m height. It is located 10 km from the river Don. The bronze sculpture is dressed in an apostolic church cowl. He holds a Latin cross.

The facade was reconstructed in 1790 by Camillo Leonti. The church has a Latin cross plan, with interior decoration by Giovanni Domenico Vinaccia. There are numerous paintings by Andrea Malinconico.

The interior, on a Latin cross floor plan, is divided into a nave and two side aisles.Barbara Conti, Giovanna Magi, Amalfi-Sorrento. New Millennium Collection Series. I libri del nuovo millennio.

The Latin cross puzzle (left) and the T puzzle (right). The Latin cross puzzle consists of a reassembling a five-piece dissection of the cross with three isosceles right triangles, one right trapezoids and an irregular shaped six-sized piece (see figure). When the pieces of the cross puzzle have the right dimensions, they can also be put together as a rectangle. From Chinese origin, the oldest examples date from the first half of the nineteenth century.

Paired Corinthian pilasters frame the ends of the pavilions. The windows in the center bays where the bowling allies are located are divided into four unequal sections by a Latin-cross sash.

1515, and others of John Trenowyth, 1498, Marie Coffin, née Boscawen, 1622, John Boscawen, d. 1564, engraved 1634.Dunkin, E. (1882) Monumental Brasses. London: Spottiswoode Fentongollan Cross is a wayside Latin cross.

The interior is on the Latin cross plan. The nave has remains of Stanzione's frescoes depicting Histories of Sts. Paul and Peter. Other frescoes by Francesco Solimena can be seen in the sacristy.

The interior of the church is of a single aisle, Latin-cross design with a rectangular apse. The refectory contains a masterwork fresco of the Last Supper (1519-1527) by Andrea del Sarto.

However, some other Protestant traditions depict the cross without the corpus, interpreting this form as an indication of belief in the resurrection rather than as representing the interval between the death and the resurrection of Jesus. Several Christian cross variants are available in computer-displayed text. A Latin cross ("†") is included in the extended ASCII character set, and several variants have been added to Unicode, starting with the Latin cross in version 1.1. For others, see Religious and political symbols in Unicode.

It was later described by Charles Henderson, as "few Cornish churches are less interesting than Gwennap".Cornish Church Guide (1925); pp. 105–06 , The cross in the churchyard There is a Cornish cross in the churchyard which was moved to the vicarage garden in the 1840s from Chapel Moor. It has a crude crucifixus figure and a small Latin cross on the front and a large Latin cross on the back and is probably a fragment of a larger cross.

The layout of the church was of a Latin cross with a double apse and an 11th-century bell-tower. Most of the decoration of the stone were removed.Parchi di Lazio entry on ruins.

The municipality's arms might be described thus: Tierced in mantle, dexter argent a cross gules, sinister Or a pastoral staff sable, and in base gules a Latin cross between two stag's attires of the first.

Oberhaid’s arms might heraldically be described thus: Gules a wing sinister palewise argent emerging dexter therefrom an arm clad argent, the hand holding a Latin cross Or palewise, below dexter an inescutcheon, argent a cross sable.

The arms of the cross project beyond the square. alt= Plan 2. This plan has an extended nave with two aisles on either side of it. The main spaces of the church form a Latin Cross.

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.

An ancient cross in the grounds of Tretheague House There are four Cornish crosses in the parish; they are in the vicarage garden, and at Repper's Mill and Trevalis. The cross at Repper's Mill has a crude crucifixus figure on the front and a Latin cross on the back. There are two crosses at Trevalis: both have a crude crucifixus figure on the front and a Latin cross on the back. One of the crosses formerly stood at Hendra Hill near the churchtown but was moved to Trevalis about 1860.

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.

The apse has narrower round arch openings taking up most of each of the five sides. The walls of the nave and apse are constructed of random rubble. There are alternating red and blue coloured concrete block quoins to the corners and the edges of the arched openings. The third stage comprises the porch, including the west gable parapet wall surmounted by a Latin cross at its apex, the gable parapet wall to the nave also with a Latin cross, and the tiled roofs of the nave, apse and porch.

Prior Philibert de la Croix changed its plan from the basilica form to a Latin cross. His successor, Jean Bougler (1505-1556), completed the restoration of the church, added the tower, and rebuilt the cloisters, sacristy, and library.

It has a crude crucifixus figure on the front and a Latin cross on the back. The other is a cross head found in the kitchen garden at Pendarves.Langdon, A. G. (1896) Old Cornish Crosses. Truro: Joseph Pollard; pp.

The north transept and the secondary façade were commissioned in 1204 by Bishop Anselmo degli Atti, as attested by an inscription on the façade. The south transept was opened in 1513, giving the church its present Latin cross configuration.

307-308Robert Dusek, Facing the Music, Xulon Press, USA, 2008, p. 65 The latin cross is one of the only spiritual symbols that can usually be seen on the building of an evangelical church and that identifies the place's belonging.

Main altar. The Basilica of San Simpliciano is a church in the centre of Milan, Italy northern, the second oldest in the form of a Latin cross, first erected by Saint Ambrose. It is dedicated to Saint Simplician, bishop of Milan.

It joins the refectory. The church has a Latin cross with a bell tower. Under the medieval church is the crypt of St. Francis with a lunette showing the 'Preparation of the Nativity. The painting dates from the thirteenth Century.

The South- Western façade, looking at the Archbishop Palace, dates from the 14th to 15th centuries. The sarcophagus of Emperor Frederick II of Hohenstaufen. The interior has a Latin cross plan, with a nave and two aisles divided by pilasters.

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.

The shield of Santa Cruz de la Zarza is on a field of silver, a Latin Cross of saber supported in divided and cut brambles, being it top part of sinople and it low part of gules. To the stamp, closed Sunflower.

The Latin cross plan ends in an extended apse with two side chapels. It has an octagonal cupula over the crossing. The cupula was likely constructed under the patronage of abbess Jerónima de Azlor (1609-1615). The Romanesque portal of the church (c.

The interior is designed on the Latin cross plan, with the nave containing a central aisle and two side aisles, and houses works by Macrino d'Alba, Bernardino Ferrari and others, as well as a tempera polyptych of the school of Leonardo da Vinci.

The Basilica forms a Latin cross with three naves. Despite being a late construction, it retains the mannerist scheme typical of Jesuit art. However, the façade differs substantially and has a neoclassical style with Baroque-inspired cornices, and the towers recall Romanesque solutions.

The party's flag is based on the Nordic Cross flag design. Nordic Cross flags, or Latin cross flags, are a common design in Scandinavia and other parts of the world, and in theory, the PIP's emblem belongs to this family of flags.

On the west gable, were the initials interwoven, "A. M." for "Ave Maria." Facing north and south was a gilded cross. From the top of the parapet rose the spire, crowned by a gilded wrought iron Latin cross, six feet in height.

It has one nave but a Latin cross floor plan. Side chapels are separated from the main nave by wide segmental arches. The interior is decorated in folk Baroque style with wall and ceiling murals and Doric columns. The church has five altars.

The Christian Flag, which represents all of Christendom, has a white field, with a red Latin cross inside a blue canton. In conventional vexillology, a white flag is linked to surrender, a reference to the Biblical description Jesus' non-violence and surrender to God's will.

The church has a Latin cross plan with three aisles divided by pillars that support arches. In a niche by the high altar is a statue of Saint Camillus by Alberto Galli, made in 1911. There is a side altar dedicated to the Blessed Virgin.

The main construction of the church was carried out in 1583-1602 under the architect Giacomo della Porta based on the Latin cross arrangement. Carlo Maderno took over from 1602 to 1620, and directed construction of the dome and the main body of the church.

The layout of the cathedral follows that of the Latin cross. The vaulting of the choir and the south aisle is ogival (gothic), the vaulting for the north aisle is groin vaulting and the ceiling of the south chapel is decked with modern paneling.

The church is built in the form of a Latin cross with a nave, a choir and two transepts, on to the north and the other to the south of the church."Assumption of the Blessed Virgin, Mqabba", Planning Authority. Retrieved on 02 April 2017.

Apse, dome and bell tower of the Cathedral of Padua. The Basilica of Santa Maria Assunta stands between the episcopal palace and the Baptistery. It is a Latin cross with three bays and an octagonal dome. The dome of the Glory is covered in lead.

In the year 1917, the building suffered the collapse of its central nave; And by the year 1922, the west tower was collapsed by lightning that struck it. It was consecrated on November 12, 1931. It has three naves and plant of Latin cross.

There is a wooden Latin cross in the place of the former recess for an icon, under the gables in the upper frontal part of the building. In the 1974 photo, the building has an entrance-room that has been preserved up to today.

The church was converted to a cruciform church in 1626–28. Only the carved portals and decorative wall planks survived from the original stave church. It was a half-timbered building, where the church materials are reused. The basic architectural plan is a Latin cross.

The grave slab measures 1.8 x 0.4 x 0.2 metres. There is a Latin cross at the wider end and a Maltese cross inscribed at the narrower end., with v-shaped ends. Its shape similar to the De Profundis Stone, located in Kilbride, County Westmeath.

The shrine is a Latin cross, characterized by a side wall and an apse hexagonal. The mullioned windows are Gothic style. Inside there are frescoes modern and original chapel of the saint carved in the rock. The church is located after crossing the square.

It has a tower of three bodies, with dome crowned by an iron cross. The second body of the tower houses a clock. The plant of the temple, of Latin cross, consists of three bodies. On the cruise, the dome rises, octagonally, with lint.

The church occupies an area of 1 hectare and is about 70 feet (20 m) tall. It is a rectangular Latin cross in shape, and in classical basilica form. Entrances are placed in the north, west, and south. The main door is in the southwest.

Purchasers could choose text and/or symbols to be inscribed on the bricks. Some purchasers paid to have their bricks inscribed with a Latin cross. After one parent complained, school officials removed from the walkway every brick containing a cross symbol. Case Status – The court held that free speech rights of parents were violated where the school removed bricks inscribed with a Latin cross. The court held that symbols were not school-sponsored speech; and that a walkway where the bricks were displayed constituted a designated or limited public forum and that the school engaged in prohibited “viewpoint discrimination.” The bricks were later reinstated.

A Cross of Peter is an inverted Latin cross The Cross of Saint Peter or Petrine Cross is an inverted Latin cross, traditionally used as a Christian symbol, but in recent times also used as an anti-Christian symbol. In Christianity, it is associated with the martyrdom of Peter the Apostle. The symbol originates from the Catholic tradition that when sentenced to death, Peter requested that his cross be upside down, as he felt unworthy of being crucified in the same manner as Jesus. The Petrine Cross is also associated with the papacy, reflecting the Catholic belief that the Pope is the successor of Peter as Bishop of Rome.

The cathedral's facade is a fusion of Spanish baroque and indigenous Bolivian styles. It has a Renaissance Latin Cross style groundplan. The structure itself is built of stone and adobe masonry, with the domes and vaults made with brick and lime mortar, ornamented with ceramic tiling.

It has the form of a Latin cross with a slightly projecting transept, a dome and a bell tower. The dome rises from a hexagonal base with supporting columns. The dome was completed in 1264. The lantern atop the dome was added by Gian Lorenzo Bernini.

The stone was decorated in Early Christian times (c. 7th century). The letters 'DNE' - D(omi)ne - O Lord, are set sideways to the cross. A second stone is decorated with a large Latin cross coupled with bifurcated terminals and two crosslets in the upper angles.

In 1776 the church was expanded to double its size. According to a drawing the church, apart from the Latin cross church building, consisted of a larger choir, sacristy, and a church porch. Since the church lacked towers the church bells were placed in a belfry.

The interior, on a Latin cross groundplan, has three aisles: the two side aisles terminate in small chapels. The central part of the north aisle contains a marble sculpture depicting Bishop Francesco Saverio Mangeruva (1872-1905) and the sarcophagus of Bishop Michele Alberto Arduino (1962-1972).

In the USA, the Latin cross began as a Roman Catholic emblem, being vehemently contested as Satanic by various Protestant denominations in the 19th century, but has since become a universal symbol of Christianity and is now the main representation of the cross for Protestants, too.

The Grote Kerk or Onze-Lieve-Vrouwekerk (Church of Our Lady) is the most important monument and a landmark of Breda. The church is built in the Brabantine Gothic style. The tower of the church is 97 meters tall. The plan is in the shape of a Latin Cross.

The cathedral has a Latin Cross structure, with a length of 85 m. It has a nave, covered by a barrel vault, and two aisles, with an ambulatory and five apse chapels. The triforium features triple ogival mullioned windows. The apse houses a calvary sculpture from an unknown date.

The church has a form of Latin cross, with a single nave with four chapels. It also has a transept and a small choir area. The paintings are located on the altars of seven chapels, and a wooden crucifix is in the eighth chapel. They were built in 1663.

The structure has a prominent, broad- hipped slate roof with an ornamental louvre surmounted by a copper-clad Latin cross. Despite varying dates, all the structures of the complex appear to have been built in harmonious styles with a brick color that very much matches the vernacular neighborhood architecture.

The $2,500 memorial ($ in dollars) was a plain Latin cross of white marble, to be dedicated to all those who died in the Great War. The chairman of the memorial committee was Miss Abbie B. McCammon, and the treasurer Miss N. R. Macomb. Mrs. William M. Black and Mrs.

The cathedral is designed in a transitional style between Romanesque and Gothic. It lacks almost any influence of Islamic architecture. The floor plan is of a basilica in a Latin cross with a nave and two aisles. The tower is octagonal with a central space of five apses.

Like many churches, the building is in the shape of a Latin cross. The transept of the church is crowned by a large cupola. The temple is 44 m in length, 25 m in width, and 42 m in height. The sanctuary has room for about 2,000 people.

Coat of arms of the counts of Toulouse in the 13th century The first known Cross of Toulouse is shown on Count Raimond VI's seal, dated from 1211. Then widely used all over Languedoc, the Cross of Toulouse appeared on the municipal arms of Toulouse and the provincial arms of Languedoc in the 14th century. Pierre Saliès (Archistra, December 1994) claims that the Cross of Toulouse is a modification of the Latin Cross, attributed to Count Raimond VI. In 1099, Raimond VI took part to the reconquest of Jerusalem with the Crusaders. As a Crusaders' chief, Raimond would have adapted a cross slightly different from the Latin Cross bore by the low-rank Crusaders.

The temple is composed of a Latin cross nave with a rectangular floor plan with small lateral niches. The walls inside the temple are polished stone with lime plaster. The whole church is also built with andesite. The roof of the temple is composed of five vaults built with rectangular bricks.

The Cathedral is a monumental neoclassical-style building designed in conformity to a Latin cross basilica plan — a departure on Latrobe's part from previous American church architecture, but in keeping with longstanding European traditions of cathedral design. The plan unites two distinct elements: a longitudinal axis and a domed space.

It is made of grey stone in the Gothic Revival style, with the floorplan in the shape of a Latin cross. The exterior features buttresses, and a monumental steeple. The perfectly symmetrical design includes pinnacle-topped turrets at either side of the facade. The walls include by gothic style windows.

Interior in 1895 The elongated nave and interior space form a Latin cross. The nave spans 22 columns decorated with stucco simulating rose-colored granite. Much of the interior was restored in 1842-1843. The stucco capitals were completed in the 16th century by Giovanni Paolo Rossetti and Leonardo Ricciarelli.

The Candelária church is a Latin cross church with a dome over the transept. The nave has three aisles and a main chapel in the apse. The whole ensemble may have been inspired by the church at the Convent of Mafra, and in the Estrela Basílica of Lisbon, both in Portugal.

The school's crest is a shield with deep sky blue fill which represents truth and loyalty. Within the shield is the school's abbreviation above which is a banner and a Latin cross which symbolises faith.The Meaning Behind The Symbols . The periphery of the shield carries the school's name and motto.

Above this, there is a choral window flanked by small pilasters with pinnacles. The bell tower was never completed and its brickwork can still be seen. The interior has a Latin cross layout, with a short principal nave and a cupola. There are a number of paintings along with altarpieces.

The Renaissance parish church of La Magdalena and the hermitage of Santo Cristo del Campillo are of note. The church originally had a Latin Cross plan. It contains books of the Baptism Acts since 1530 and Marriages and Deaths, since 1641. The hermitage, also of Renaissance origin was enlarged in 1775.

The façade is serene and sober with monumental Doric pilasters supporting an unadorned triangular tympanum. The central portal has a rounded pediment. This church has a Latin cross layout with three chapels on each side. The main altarpiece is a Death of St Joseph attributed to the studio of Carlo Maratta.

The Chapter House The interior of the church is Latin cross in shape. It is divided into one nave and two aisles by pilasters, crowned by Romanesque capitals. The Chapter House is the holiest place in the monastery after the church. It was built on the eastern side of the cloister.

The Patriarchal cross, a Latin cross with an additional horizontal bar, first appears in the 10th century. A wide variation of cross symbols is introduced for the purposes of heraldry beginning in the age of the Crusades.William Wood Seymour, "The Cross in Heraldry", The Cross in Tradition, History, and Art (1898).

Like most Baroque Catholic churches, it was designed in a Latin cross plan. Its vault consists of a corrugated canon with a polygonal cross-section, and its side arches () and sub-arches () are also polygonal. Its internal amplitude stands out for its scale given the modest locality at the time.

It is Latin-cross shaped in layout, has two semicircular ends and is crowned with a dome. The scrolled cast iron buttresses are a notable feature.Williamson, Page 477 The conservatory suffered storm damage in December 2010 and January 2011. The conservatory and associated building have been closed since that time.

The stone is a spike of shale tall. On the west face is a cross with a V-shaped ornament beneath it, and on the east face is a Latin cross in a double circle and four concentric circles; this probably indicates a "pagan" monument that was later appropriated by Christians.

Glebe Cross has crosses in relief on either face of the cross head.Langdon, A. G. (2002) Stone Crosses in Mid Cornwall; 2nd ed. Federation of Old Cornwall Societies; pp. 63–64 The Old Rectory cross at Ruan Lanihorne is a small Gothic latin cross in the grounds of the Old Rectory.

The church is on the Latin Cross plan with a nave and two aisles and three apses. Each of the square spans is surmounted by a dome. The presbytery, ending with a niche, has also a dome. The cloister, enriched by a luxurious garden, is the best preserved part of the ancient monastery.

On the northern side is the square, sturdy bell tower. The interior is on the Latin cross plan, with a nave and a transept. The apse, with a quadrangular plan, was rebuilt in 1664. To the same age dated the barrel vault of nave, which has been replaced by the current wooden trusses.

The façade The building has a nave and two aisles, on the Latin cross plan. The first chapel on the right is that of the Holy Cross. Its altar was designed in Mella-style with neo-Gothic walls on the left side. The painting of St Joseph is from the 18th century.

Coat of arms of the order "The armorial bearings of the Order display a white latin cross on a red oval field, surrounded by a rosary, all superimposed on a white eight-pointed cross and displayed under a princely mantle surmounted by a crown" as defined in article 6 of the Constitutional Charter.

The current ones with Talavera tile are from the reconstruction. The interior is decorated in Neoclassical style with a Latin cross layout although there are still some Baroque and Churrigueresque altars. The main altar is Neoclassical but with an altarpiece which is Baroque. The upper choir area has an elaborate wood railing.

This memorial takes the form of a menhir with Renaud's sculpture of a soldier standing in the front whilst at the rear is a Latin cross and an anchor. Plaques in bronze list the dead of the 1914-1918 and 1939-1945 wars as well as the conflicts in Indochina and Algeria.

The Church of San Juan Bautista (Spanish: Iglesia de San Juan Bautista) is a church located in Arganda del Rey, Spain. It was declared Bien de Interés Cultural in 1999. The church has a Latin cross plan with three naves. It has a lantern topped with a very harmonious and high-rise spire.

Viseu Cathedral is a Latin cross church with a three-aisled nave, transept and three Eastern chapels. The main façade is flanked by two towers. The outer, lateral walls of the church have a heavy, menacing appearance, typical of Portuguese mediaeval cathedrals, being partially decorated with merlons. Interior viewed towards the main chapel.

The German blazon reads: Schild durch einen silbernen Wellenbalken geteilt, oben in Rot ein silbernes Balkenkreuz, unten in Grün ein silberner, hersehender Hirschkopf mit Kreuz. The municipality's arms might in English heraldic language be described thus: A fess wavy argent between gules a cross of the first and vert a stag's head caboshed ensigned with a Latin cross between the attires of the first. The wavy fess (horizontal stripe) represents the village's namesake brook, the Sarmersbach. The silver cross on the red field above this refers to Sarmersbach's former inclusion in the Electoral-Trier Amt of Daun. Below the wavy fess is a stag's head with a Latin cross on top, Saint Hubert’s attribute, thus representing the parish's patron saint.

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 brick façade is sober. The church has a Latin cross layout with chapels at the transept. In the apse is a Renaissance-style tempietto with doric columns supporting an octagonal dome, much like a ciborium. In the arches, except for the facade, are a series of frescoes (1594) by Pier Francesco Renolfi from Novara.

Three concrete stelae and a mournful wall are main elements of the memorial. The basement of the central stele is painted black; its top is painted white and brick-red. A Latin cross is fixed in the middle of the composition. The dedication is written on the both sides of the cross: "To innocent murdered" ().

The church, started in 1174, was finished around 1225. It was consecrated in 1211. It has a Latin cross plan, with a nave and lower aisles of six bays. The arms of the transept, which are the same width as the nave, each end in an apsidal chapel which is barely visible from the exterior.

It was commissioned in 1780 by Pedro de Alonso Díaz in the baroque style. It is single-storied with a dome topped with a Latin cross. It also possesses an annexed bell tower. On the 17th of January the attendees honour Saint Anton, and on the 3rd of May the honour the Holy Cross.

The present church at the site was built between the 11th and 12th centuries at the site of an earlier 9th century church,. The ceramic decoration in the apse dates from this latter construction. The layout is that of a Latin cross with three naves, each with a semicircular apse. A bell-tower rises alongsides.

Modern in its detailing and construction, the Cathedral has a traditional Latin Cross form with a high nave – 65 ft, transepts, crossing and sanctuary. The nave is approximately 190 ft long and has a vast capacity with seating for 1,500 people.South Africa Architectural Record, November 1960. 11 A gallery seats a further 130 people.

The basilica is 100 metres long by 20 metres wide. It has the form of a Latin cross but the transepts do not project beyond the aisles. The shallow apse is five segments of an octagon, as is common in Italian Gothic churches. It was designed in the Gothic style with pointed arches throughout.

Constructed in neogothic style, it stands 68 m (223 ft) tall. Its base is a Latin cross. Its walls are built from materials like rock and bricks, and it has stained glass windows. In the last 3 years some architects started a plan to remodel it, with the objective of bringing back its original splendor.

The central church, known as Chiesa plebana, is of the Latin Cross layout with a nave, two aisles and transept. The aisles are divided by cruciform pilasters with alternating capitals with zoomorphic motifs and of Corinthian style. The walls above the colonnade are polychrome. The trefoil-arched wooden ceiling dates from the 14th century.

The badge of the order is a gold Star of David with a cross bottony in the center enameled green with a central gold Latin cross. The badge was suspended by the Ethiopian crown in gold. The plaque bears the badge of the order on a gold star with rays. The ribbon is solid green.

The current Basilica of San Colombano was built during 1456–1530 in a Renaissance style. The Basilica has a Latin cross layout with a nave and two aisles, a transept and a rectangular apse. It includes a 9th-century baptismal font. The nave fresco decoration was completed in the 16th century by Bernardino Lanzani.

It was built in the 18th century on one of the ancient gates of the town, and was originally part of the old Town Hall. It consists of four sections, with an octagonal bell tower and dome topped with a Latin cross. The tower is the subject of a poem by Federico García Lorca.

The church consists of an arched vault with 3 naves over the outline of a Latin cross. Because of their lighter weight, the arches are built of artificial tuff stones. due to its lighter weight. The high bell tower stands in front of the short nave, with the Memorial Hall in its ground floor.

The church is large and has a fortress-like appearance. Its layout is in the shape of a Latin cross. There is a large nave with aisles, north and south transepts, a choir with choir-aisles, and a side chapel. A notable feature is the high altar, mostly completed by 1626, which has carvings and bas-relief.

The front entrance is a pointed arch door, with a rose window above. Each side has four stone buttresses and pointed-arch windows. The roof is covered in ceramic tiles, and a small metal spirelet topped with a Latin cross rises from the ridge. With Inside are simple wooden pews, and a poured concrete altar with a silver cross.

On the facade are statues of the Saints Secondo, Roch, and the Archangel Michael. In the center of the facade is the original coat of arms of the town. The layout is that of a Latin Cross with a large cupola at the center of the crossing. The interior houses some 17th-century marble altars in the lateral chapels.

Exemplifying religious architecture, it has a Latin cross plan, with a single nave and well-known chancel, profusely decorated with gilded wood, valuable 17th and 18th century altarpieces, and blue and white tile panels from the 17th century that line the walls of the sacristy. Noteworthy is the altar of the chapel of the Eleven Thousand Virgins.

The church has a Latin cross floorplan. The main facade has a portal with several archivolts and capitals decorated with vegetal and anthropomorphic motifs. The rose window over the portal is partially destroyed. The south side of the church is reinforced by five flying buttresses, added in 1399 after the south wall collapsed during the construction work.

Saint-Jean-Berchmans Church was built from 1938 to 1939 based on plans by Lucien Parent and René-Rodolphe Tourville. It is characterized by a Latin cross, a nave with three aisles, and its stone cladding. The church possesses a Casavant Frères organ (opus 1620) dating from its foundation. The church showcases ornamental forged iron by Pancrace Balangero.

The doors were replaced to meet fire code. On either side of the front doors is a carved fleur-de-lis, a symbol of purity that is used to represent the Blessed Virgin Mary under whose patronage the church is dedicated. The interior reveals a traditional Latin Cross floor plan. The long, narrow nave ends in the altar area.

One of the distinctive elements of the church is the "Sant Crist" chapel. This element, of baroque style, dates from the early 18th century and occupies an annex on the left side of the nave, near the bell tower. It has a Latin cross base. It is covered by a hemispherical dome, supported by four pairs of pilasters.

The church is built in the shape of a Latin cross. This was a style which became popular in the 11th century, particularly for pilgrimage shrines. It consists of a central nave with radiating chapels. This allowed for both private space for prayer by the clergy of the church and open space for the pilgrims visiting it.

The cathedral's construction began in 1236 by will of Berthold, patriarch of Aquileia, on a Latin cross-shaped plan with three aisles and side-chapels. The style should follow that of the contemporary Franciscan churches. The church was consecrated in 1335 as Santa Maria Maggiore. In 1348 an earthquake damaged the building, which was restored starting from 1368.

The window on the central tower is tall. It features quatrefoil, Latin cross and yin-yang-shaped lights that are set within rosette forms. The interior is divided into three naves with vaulted ceilings that are divided by columns with capitals in the Corinthian order. A double gallery is located in the rear of the church.

Inside, it has a Latin cross layout with one name, divided into an upper choir, nave and apse. The main altar is Baroque, profusely decorated with colorful flowers, angel and saints. This altar was constructed by indigenous craftsmen. The other two large chapels on the site are the Nuestra Señora de los Dolores Chapel and the Santa Cruz Chapel.

Nave of Basilica The church has a layout of a Latin cross with the main axis from east to west. At long and wide, the Basilica of Santa Giustina is one of the seventh largest in Italy. The facade is enhanced by expanse of the Prato della Valle, which it overlooks. There are three main chapels.

The Stevens School is a historic school building located at York, York County, Pennsylvania. It was designed by architect John A. Dempwolf and built in 1889–1890. It is a 2 1/2-story, red-orange brick building in the Romanesque Revival style. It is in the form of a Latin cross and has a slate covered hipped roof.

The exterior of the building was constructed with granite, glass with steel trim. At least 90% of the building is enclosed in glazed glass, most of which is dark-blue. The structural system of the roof is in a truss form. When viewed from the sky, this skyscraper appears to be a "glass cathedral" in the Latin Cross design.

The "tour des moulins" (trail of windmills) makes a pleasant route for mountain bike practice. The Church of Saint Jean Baptiste was constructed in the form of a Latin cross, a neoclassic inspiration. Since its reconstruction in 1840, it has resisted numerous cyclones. Its exceptional ventilation system preserves, wholly intact, a woody decor in pastel tones.

The church was built in a Latin-cross layout in 1595 around a venerated icon of the Virgin. An altarpiece on the right has a canvas depicting a Madonna and child and Saints by Baccio Ciarpi. In the choir are frescoes depicting the Marriage of the Virgin and Presentation at the Temple.Comune of Barga , entry on church.

The church plan is Latin cross-shaped with a single nave. The façade is white-plastered with four small buttresses supporting a gold mosaic cornice with the writing "AVE MARIA". The architrave is also decorated with a mosaic dedicated to the Madonna. The bell tower on the left is a tower without a spire in unhewn stone.

It is a Gothic Revival-style stone church in the form of a Latin cross, long and feet wide. Plans and designs for the church began in 1887, and in 1890 it was finished and dedicated. The Lockport sandstone and Medina brownstone were hauled by barge down the Erie Canal. The building was designed to seat 1,100 parishioners.

At the time it was the largest Christian church on the island and was the first church in Gozo to be built in the form of a Latin cross. Records of the visitation of Archbishop Paul Alphéran de Bussan in 1744, claim that St George's Church is one of the first parishes erected in the Diocese of Malta.

The interior, on a Latin cross floorplan, consists of a central nave and two side-aisles, a transept, an apse and a sacristy, as well as the usual service areas. Because of the recent destruction no reliefs or decorative works are now to be seen, except for some 18th-century frescoes attributed to Leonardo Pallante and the high altar.

Geometrically, it has four equal parts: a base, an upright, a cross piece, and a top. The top is somewhat like the cross of St Peter, while the stem is reminiscent of a Latin cross. The arrangement creates an optical illusion that the verticals are considerably longer. The blue reflects the vault portals of the chapel.

See Jacques Baudoin's " La sculpture flamboyante, Champagne Lorraine." pages 143–144. Baudoin disagrees with Arnhold and dates the work to 1510. The church itself dates back to the second half of the 12th century and was rebuilt in the 16th century in the shape of a Latin cross. It is the oldest building in Saint-Julien-les-Villas.

The original part of the cross is 46 cm high and 33 cm wide, with a core made of oak excluding the later fitting at the base. It is a Latin cross with block-shaped ends. These appear similar to the cubic capitals which were popular in architecture around the year 1000.Beuckers, Farbiges Gold, p. 10.

Detail of Correggio's frieze. The interior is on the Latin cross plan, with a nave and two aisles covered with cross vaults, and a dome at the crossing. The structure is similar to the nearby cathedral's. The grooved piers are Renaissance elements of classical inspiration. In the nave is a frieze by Correggio and his workshop (c. 1522-1524).

The steeple of the Cathedral designed by Charles Andrew Dyce. The Cathedral of the Good Shepherd is built in a restrained Renaissance style. Its porticos are in the Palladian manner, which was established here by George Drumgoole Coleman. Its plan is in the form of a Latin cross and like all traditional churches, it is orientated east.

A stained timber Latin cross is fixed to exterior of the door mullions. Tall, narrow windows with no arch at their heads and filled with coloured lead lights, open either side of the porch. Above it, as well in each porch side wall, there are shorter windows of otherwise similar dimensions. The central one is filled with fixed louvres.

The historic Calvary Episcopal Church was established in 1857 and is located at 821 South 4th Street Louisville, Kentucky. This stone gothic church was built in Old Louisville in 1888 and is listed on the National Register of Historic Places. The church is a member parish of the Episcopal Diocese of Kentucky. It has a Latin Cross plan.

The plan is in the style of a Latin cross, consisting of a nave with side aisles, transepts with side aisles, a sanctuary with seven chapels, and sacristies. Although its length is marginally shorter than that of St Mary's Cathedral, Sydney, St Patrick's has the distinction of being both the tallest and, overall, the largest church building in Australia.

The original church of the mid-15th century had the shape of a Latin cross. It was consecrated around 1443. It is said to have been erected by prime contractors from Ghent on the site of St. John's Hospice. In 1558, the French troops led by Maréchal de Thermes invaded the city and burnt the church.

The Christian Flag. The Christian Flag, designed in the early 20th century to represent all of Christianity and Christendom, has a white field, with a red Latin cross inside a blue canton. In conventional vexillology, a white flag is linked to surrender, a reference to the Biblical description of Jesus's non-violence and surrender to God's will.

The layout is that of a Latin Cross with four side chapels. The crossing has a frescoed cupola. The chapels were independently sponsored by the Paesani (first on right), Janni, Marcucci, and Farnese families. The first chapel on the right (Paesani) has an altarpiece depicting Virgin and Child with Saints by the circle of Giovanni Lanfranco.

The interior is on the Latin cross plan, with a nave and two aisles. It houses a rich collection of paintings, with works by Girolamo Savoldo, Domenico Morone, Francesco Morone, Antonio Balestra and Guercino among the others. Under the presbytery is the crypt, a relic of the High Middle Ages edifice. The columns maintain the 8th century capitals.

14 framed figures depict the Stations of the Cross. The apse ceiling is engraved with a Latin cross and illuminated by its own windows. Eight windows from all four sides of the naves light up the chapel. An altarpiece in front of the right nave was taken from Saint Anne's Church in Dunav, Gjilan, which today lacks worshipers.

However the settlement recovered and was granted the Magdeburg rights and coat of arms in 1792. The arms depicted a bull with Latin cross on its head. Possibly the image was borrowed from Kaunas. The arms and the rights were soon abolished as the village was absorbed into the Russian Empire following the partitions of the Polish–Lithuanian Commonwealth.

The Society makes use of a symbol of a man's head, surmounting a rayed halo, with a small Latin cross before his mouth. The motto of the Society is "Hallowed be Thy Name," which sits on the bottom rim of the symbol, the top rim having the letters "HNS," referring to the initials of the Society.

The church was located alongside an Ancient Roman road. In 1105, a church and hospital were founded to attend pilgrims in route south. The layout is that of a Latin cross with a single nave and hemi-circular apse. The original bell-tower was razed, and replaced at the same site by a new tower in 1894.

The interior of the cathedral has been redesigned and restored on several occasions. Its present grandiose interior is Neoclassical. The nave was enlarged in 1513 in the form of a Latin cross, and modified in the 16th century. The present appearance of the cathedral is attributable to the reconstruction by architect Giuseppe Piermarini (1734–1808) who removed earlier alterations.

The War Merit Cross is made of bronze and in the shape of a Latin cross pattée. Between the arms of the cross is a laurel wreath. The obverse bears a circular medallion in the center with the left facing effigy of King Friedrich August III. Circumscribed around the medallion is FRIEDRICH AUGUST KÖNIG V. SACHSEN.

The origins of the church are Romanesque, but it was subjected to significant alterations in the Baroque period. Its architectural plan consists of a Latin cross, one short nave with a large transept. The east side of the church has three rectangular chapels. It has been classified by IPPARPortuguese institute for architectural heritage as National Monument since 1910.

As the population of the two localities grew it was decided to build a new and larger church. Work commenced in 1718 and when finished, was consecrated on October 19, 1755. The new church was built in the form of a Latin cross. The church was enlarged in the 1860s and blessed once work terminated on 22 November 1868.

D. Cal. 2005). According to the district court, “the transfer of the Preserve land containing the Latin Cross which as [a] sectarian war memorial carries an inherently religious message and creates an appearance of honoring only those servicemen of that particular religion is an attempt by the government to evade the permanent injunction enjoining the display of the Latin Cross atop Sunrise Rock.”Buono, 364 F. Supp. 2d at 1182 (citation and quotation marks omitted). The district court deemed the exchange “invalid” and permanently enjoined the government “from implementing the provisions of Section 8121 of Public Law 108-87” and ordered the government “to comply forthwith with the judgment and permanent injunction entered by th[e] court on July 24, 2002.” The Ninth Circuit Court of Appeals affirmed.

Bad Driburg's civic coat of arms might heraldically be described thus: In azure a crenellated town wall and gate over which a crenellated tower Or, above the wall sinister a Latin cross Or. This tower has been a symbol of Driburg for almost 800 years, and it can even be seen on the "Driburg Pfennig", which was struck in 1215, and of which only two examples are known today. The cross stands for Paderborn, to which Bad Driburg once belonged. A similar coat of arms in gules (red) rather than azure (blue) was granted on 6 July 1908, but in 1973, the red was changed to blue, and the cross, formerly a cross pattée, became a Latin cross. This newer version was approved by the Regierungspräsident in Detmold on 9 May 1973.

The St. Dominic's Church in Denver, Colorado, is a historic church at 3005 W. 29th Avenue. It was built during 1923 to 1926 and added to the National Register of Historic Places in 1996. Described as Late Gothic Revival in style overall, it is said to exhibit "characteristics of the middle to late Ravonnant and Flamboyant styles." It has a Latin Cross plan.

The Coat of Arms of Bishop Ha is unique in two ways: it adopted a simpler design of tassel cord loop, symbolizing simplicity, straightforwardness and sincerity; and it uses a Franciscan cross, instead of the more common Latin Cross, behind the shield. His episcopal motto is Pax et Bonum, the greeting of St. Francis of Assisi, meaning peace and goodness.

Many of the fallen elements are still conserved by the church. The Latin cross interior, was rebuilt in neoclassical style, divided into three naves by two rows of columns. A barrel vault in the central nave, with a series of stucco frames, while aisles covered with coffered ceilings boxes. The architect was Luigi Poletti who also planned on building a second bell-tower.

The basilica is built on the Latin cross plan, with a nave and two aisles of six bays each. The aisles are lower than the nave. The right aisle has buttresses from which flying buttresses (an element typical of Gothic architecture) connect it to the nave. The transept, of five bays, has the same width and height of the nave.

Built in a neo-Gothic style, the church was initially shaped rectangular. After the addition of transepts in the 1930s, the church now takes on the form of a Latin cross. At the front end of the church stands a belfry tower capped with a spire and ornate brass cross. Rose windows decorate the façade of both transepts as well as the belfry.

In the Church of Sweden, pectoral crosses were reintroduced for bishops in 1805 by king Gustav IV Adolf. The model of 1805 is still in use today. Bishops wear a simple latin cross of gold suspended by a gold chain. The archbishop of Uppsala uses the same model with the addition of golden rays in the angles of the cross.

The Basilica of La Soledad is laid out in the shape of a Latin cross. The building was constructed from green cantera, a stone common in parts of Oaxaca. The west gallery contains a baroque pipe organ dated 1686, restored to playing condition in 2000.The Organ of La Soledad Virgin Mary, kneeling and weeping at the foot of the Cross.

In both cases the symbolism suggests that "together, the rose and cross represent the experiences and challenges of a thoughtful life well- lived."AMORC. Our Traditional and Chronological History. In addition, the Gold Latin Cross version represents the human person with arms outstretched in worship, with the rose at its center as the unfoldment of the human soul over many lifetimes of work.

Construction of the church began in 1886 and was completed in 1891. The church was built for a primarily German congregation in a rhenish romanesque revival style with the floor plan laid out as a Latin cross. The church's main tower rises 235 ft (71.63 meters) high. In 1985, the church was shuttered and the Catholic Diocese considered demolishing it.

The village is centred on the church of Sant Andreu (Saint Andrew), built in the 16th century in the late Gothic style. It is on the Latin cross plan, and has back to back chapels that were added later. There is also a small Romanesque hermitage. The bell tower is of later construction, being added to the church in 1826.

Like Ottoman mosques, many churches based on the Hagia Sophia include four semi-domes rather than two, such as the Church of Saint Sava in Belgrade. Several churches combine the layout of the Hagia Sophia with a Latin cross plan. For instance, the Cathedral Basilica of Saint Louis (St. Louis), where the transept is formed by two semi-domes surrounding the main dome.

In the 1900s the church was enlarged altering the shape to that of a Latin cross with the addition of east end transepts and a choir. In the late 1920s a new west front was constructed under the direction of architect Giuseppe Lia."Our Lady of Pompei, Marsaxlokk", Times of Malta, Malta, 6 October 2011. Retrieved on 25 January 2015.

The Latin cross plan is so designed to maximize the legibility of the grid. The contrast between nave and transept that caused such difficulty at S. Lorenzo was here also avoided. The side chapels, in the form of niches all the same size (forty in all), run along the entire perimeter of the space. Brunelleschi's facade was never built and left blank.

Interior view The exterior facade includes a combination of Romanesque and Baroque styles, featuring two towers with several bays and a porch. The building was inspired by Santa María del Naranco Cathedral and the sculptures of the Cámara Santa of the Oviedo Cathedral. The plan is in Latin cross style. It has a nave with a barrel vault and two aisles.

In 2011 the Chancellery of the Sejm commissioned and published Legal opinions on the request of the Palikot Movement Parliamentary Club regarding the removal of the Latin cross located in the Plenary Hall of the Sejm (in Polish, "Zeszyty Prawnicze Biura Analiz Sejmowych" No 4/2011, p. 53-112) four legal opinions concerning the presence of the cross in the Sejm Plenary Hall.

The entrance, over which is a rose window, is supported by two Ionic columns with a Baroque flavour. The interior is on the Latin Cross plan, with a nave and six chapels on each side. It houses artworks from the Campi brothers, Bernardino Gatti, Giacomo Bertesi and Gabriele Capra. The frescoes of Bernardino in the cupola are considered among his masterpieces.

Description of the Main Church of Portimão at the IPPAR website. The South portal is a Baroque addition (18th century). Silves Cathedral is a Latin cross church with a three-aisled nave, transept and three chapels in the east end. The east side of the church with transept was built earlier (mid-15th century) than the nave (probably early 16th century).

Main altar of the Church of San Francisco Javier, part of the Museum complex The Church of San Francisco Javier was begun in 1670 and finished in 1682. Design of the building is attributed to José Duran. The layout of the church is of typical Latin cross design with a cupola with a pendentive. The groin vaults of the church preserve decorative motifs.

The St. Francis Solanus Mission is a small frame gable roofed church measuring 30 feet by 20 feet. Two six-over-six windows are located on each side of the church. An extension on the front contains a skeletal bell tower topped with a Latin cross, and an enclosed entryway with a shed roof. A picket fence surrounds the mission.

The building, in Romanesque style, is on the Latin cross plan; it has a nave and two aisles, a short transept and three semicircular apses. The latter were replaced by Gothic ones in the 15th century. The transept is covered by barrel vault, the aisles by groin vault, and the nave by cross vault in late-Romanesque or Proto-Gothic style. The dome.

That building too was destroyed, by a fire in 1629, and was reconstructed in Baroque form. The present façade of pink cotto was completed only in the 19th century, after a destructive earthquake in 1822. The cathedral has a Latin cross groundplan and a single nave. The relics of Saints Firmina and Olimpiade, the patron saints of the city, are preserved here.

The current building dates from the reconstruction begun in 1597 that lasted until the 18th century. The cathedral is a mixture of Catalan Gothic and Renaissance elements, and overlooks the sea directly. The interior is on the Latin cross plan, with a single nave with barrel vaults, side chapels and transept. The crossing has a cross vault on four pilasters with sculpted capitals.

Parish Church. Dedicated to Our Lady of the Angels, was built at the end of the seventeenth century Romanesque and Renaissance styles. Santuario de Santa Catalina. At 1174 meters, is the sanctuary that has given name to the hill, dates from the eighteenth century, is building a large Latin cross, with Cruise, has an attached guest house, next to which a fountain.

A stone Gothic Latin cross stands in the churchyard but nothing is known about its history.Langdon, A. G. (2002) Stone Crosses in Mid Cornwall; 2nd ed. Federation of Old Cornwall Societies; p. 23 Until the 16th century the valley below St Blazey was an estuary of the River Par and St Blazey was the lowest crossing point on the river.

View of the façade. The portal. The path to the church. Side view of the church with cupola. The church is built on a Latin cross plan,The ancient plan was ascribed to Bernardo Veneziano, by A. M. Romanini (L'Architettura viscontea nel 15mo secolo [Storia di Milano vol. 6] Milan, 1955:611–82), who recovered Bernardo's building activity from scattered traces in documents.

The construction was supervised by three architects from father to son, Cordonnier – Louis Marie, and his son Louis-Stanislas Cordonnier and his grandson Louis Cordonnier. The Roman-Byzantine style of the basilica was inspired by the Sacred Heart Basilica, Paris. The building is in the shape of a Latin cross, with nave, choir and transept. The crossing is surmounted by an imposing dome.

Letrosne designed the Temple protestant de Reims in a flamboyant neo-Gothic style influenced by Eugène Viollet-le-Duc. It was modeled on the Temple de l'Étoile in Paris. The layout is that of Latin cross, which is unusual in a church built for Protestants. The foundation stone was laid on 23 October 1921, and the temple was dedicated on 24 June 1923.

It is an intricately sculptured cross-slab with a Latin cross and an inscription recalling Brancuf. Originally it stood in the old St Baglan's church but that fell into ruin in the late 19th century and the slab was removed to St Catharine's. St Baglan (Bagelan), son of King Ithael Hoel of Brittany, was a 6th-century hermit and follower of St Illtud.

The two story stone building was built in 1817 and was 33' square. Part of the jail was torn down in 1851 to erect a central, octagonal portion and two wings. It resulted in a building with the shape of a Latin cross, and featured Gothic Revival windows. The three tiers of cells radiated out like spokes from the central guardroom.

The main entrance was at the west end with three Gothic, panelled doors. In the centre and over the doors was a geometrical pointed tracery window, glazed with coloured glass. At the same end were two pointed windows one on each side to light the aisles. The west end parapets were capped by a five feet high gilded Latin cross.

On the obverse there is a Latin inscription and on the reverse there is a Latin cross with four dots surrounded by an octagonal ridge. The inscription reads: "+ARALD CVRMSVN+REX AD TANER+SCON+JVMN+CIV ALDIN+" and translates as "Harald Gormsson king of Danes, Scania, Jomsborg, town Aldinburg".S. Rosborn, A unique object from Harald Bluetooth's time? Malmö: Pilemedia, 2014, pp.

On a field of gold and blue are imposed the cross and three stars. The blue stands for faithful courage, and the gold proclaims jubilant victory - always - through love. The Latin cross within the seal stands for the victory with Christ over evil. The gold of the cross stands for the love for Christ who died on it and rose from the dead.

P. 71. Alternatively, "Byzantine cross" is also the name for a Latin cross with outwardly spreading ends, as it was the most common cruciform in the Byzantine Empire. Other crosses (patriarchal cross, Russian Orthodox cross, etc.) are sometimes misnamed as Byzantine crosses, as they also were used in Byzantine culture. Sometimes it is also called just Orthodox cross, but only in Russian use.

The parish is part of a united benefice with the parish of Mylor in the Archdeaconry of Cornwall and Diocese of Truro. There is a Cornish cross in the churchyard. It was found in a farm building at Porloe in 1891 and moved to the churchyard. The head has a crude crucifixus figure on the front and a Latin cross on the back.

The principal facade includes three sections defined by pilasters and terminated in a gable, equally sectioned-off by lateral sections and crowned by pear-shaped pinnacles and Latin cross. Over the entrance is a circular and diamond-like oculus with trilobed frame. The main inscription interrupts the main facade, with the inscription: :EDIFICADA P.oR / P.e ALEXANDRE / PIMel DE MESqta. VI / GR.o DESTA IGR.

A church was present at the site since the 10th or 11th century. The present church with a Latin cross layout houses a Last Supper (1602) by Archita Ricci da Urbino. Thirteen panels in the chapel of the Holiest Rosary are attributed to Andrea Polinori; two are nineteenth century works. The chapel houses a Madonna of the Rosary (1606) also by Ricci.

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.

Flag: Rectangle of proportions 1:2 terciated by fess white, green and white. Alternatively: On a field Argent 1:2 a fess Vert. Coat of arms: Party per pale and per chevron reduced engrailed Argent, Vert and Gules. In saltire over the first two fields, a Latin cross bendwise Gules surmounted by an axe bendwise sinister Proper, its blade upward and inward.

In 1974, a construction of a new, larger church was undertaken to accommodate even more pilgrims. It was built in the neoclassical style, using Pescopagano stone. It had a cruciform floor plan with a three-part nave taking the shape of a Latin cross. The vault of the nave, above the double arches, was decorated with stuccos accented by gold inlays.

The new architectural philosophy of the Renaissance is best demonstrated in the churches of San Lorenzo, and Santo Spirito in Florence. Designed by Brunelleschi in about 1425 and 1428 respectively, both have the shape of the Latin cross. Each has a modular plan, each portion being a multiple of the square bay of the aisle. This same formula controlled also the vertical dimensions.

The upper columns have two clocks showing the time in Italian and French fashions respectively. The high bell tower, on the left side, is also in Baroque style. The ornate Baroque interior has a Latin cross plan, with a nave and two aisles separated by three colonnades embellished with gold. Charts showing Bible verses referring to St. John the Baptist are over every column.

The original Romanesque style church with a Latin Cross layout was initially constructed in the 11th to 12th-century. Traces of Romanesque columns remain in the adjacent small cloister. During the 13th century, the cloister would host the council of the nascent Republic of Siena. It is claimed that at this site in 1260, a meeting took place between the Council of 24 and Florentine ambassadors.

Interior of the Cathedral Interior of the Cathedral Interior of the Cathedral The cathedral, built in an English Gothic style, is cruciform in the shape of the Latin cross. The exterior walls of the church were built from brick and stone, while its base and columns were made of granite. Its dimensions are long, wide and tall, with the tower at the centre rising to .

Werner Olsen's first documented building project was the conversion of Vågå Church to a cruciform church in 1626–1628. It is a timber-framed building, in which material from the earlier stave church was reused. The basic plan is a Latin cross. The tower stands above the center of the cross, with a tall main tower and four small side towers, a legacy of Gothic tower architecture.

There are also examples of cruciform structures that precisely depict a Latin cross, such as the eleventh-century Santa Marta de Tera church in Zamora, or the San Lorenzo de Zorita del Páramo church in Palencia, whose header is not square but semicircular. There are also circular plans, with a single nave such as the San Marcos church in Salamanca, or the Vera Cruz church in Segovia.

To accommodate the increasing numbers of pilgrims, the sanctuary was expanded between 1934 and 1939 from one to three aisles, keeping its Latin cross plan. The project was ordered by Prelate Antonio Anastasio Rossi and designed by the architect-priest Monsignor Spirito Maria Chiapetta. Each new aisle has three altars on each side. The new building with its can accommodate up to 6,000 people.

The interior layout has a Latin cross plan, with three smaller chapels on each side. The nave and cupola was decorated by Pier Simone Fanelli, who painted saints and prophets in the spandrels. The main altar (1776) was built with polychrome marble by Cosimo Morelli.TUMA website, Tourism website for the province of Macerata, sponsored by the Fondazione of the Cassa di Risparmio of the Province of Macerata.

The first floor exterior of the front elevation was symmetrically designed with a central pair of doors, beneath a transomed multi-paned arched- window, surrounded by one multi-paned arched-window on each side. A pedimented gable was surrounded by simple moulding enclosing a tympanum decorated with a Latin cross in relief. A square tower supporting a Gothic Revival steeple at the front dominated the church's facade.

The church has a Latin cross floor plan. The central space, flanked by columns, has three levels: six high arcades supported by cylindrical columns, then above that a triforium covered by slabs which serve as the floor to the third level, a gallery with high windows. The transept is also emphasised. Above a full base there are five lancet windows, and above that, a rose window.

The facade The complex includes a convent, the bell tower, and the main church. The inside of the shrine has a Latin cross plan with a single barrel-vaulted nave having four chapels on each side. In the middle of the transept there is the votive aedicula housing the Madonna and Child picture. The columns are covered by votive tablets called 'ex voto' dedicated to the Madonna.

The central arches of the nave are buttressed by eight stone flying arches located above the side aisles on the exterior of the cathedral as can be seen in the section. The flying arches, the dome over the transept or the orange roof tiles cannot be seen from the square. The width of the central nave is fifteen meters. The plan forms a Latin cross.

After it had been extended with a piece of Hantergantick granite it was re-erected at High Cross in 1988 and dedicated in 1992. It is likely that the cross originally at High Cross was a Gothic latin cross and that this cross was originally a simple wayside cross.Langdon, A. G. (2002) Stone Crosses in Mid Cornwall; 2nd ed. Federation of Old Cornwall Societies; p.

Church interior at Christmas St. Anthony's Church follows a Latin Cross plan. The exterior of the front part of the church, which is the oldest section, is composed of quarry-faced, coursed, ashlar limestone. It reflects a period when highly skilled stonemasons and finely worked materials were not readily available in Davenport. The structure features a gable front, deep eave returns and a modillion frieze.

Plafond d'une chapelle, Cathédrale Saint-Paul The collegiate church of St. Paul has the shape of a Latin Cross 84.50 meters long by 33.60 meters wide and 24 meters high under the keystone. The transept has a length of 33 meters on 11.60 meters wide. The vessel is divided into 3 naves, 2 low sides and a choir without collaterals. His architect is unknown.

Originally rectangular and oriented to the North, the cathedral was rebuilt on the model of Santa Susanna in Rome, i.e. on a Latin cross ground plan oriented to the east, with a cupola, clad in coloured tiles varnished in the Genoese style, over the crossing. The building is in the Baroque architectural tradition. A number of alterations have taken place since the initial construction.

The red latin cross is representative of Tuam's importance as an ecclesiastical centre. The double green flaunches at the sides, represent the two hills or shoulders of Tuam's ancient name, Tuaim Dhá Ghualainn. The two crowns recall the High Kings, Tairrdelbach and Ruaidrí, who were based in Tuam. The broken chariot wheel being a reminder of the foundation of the monastic town when Jarlath's chariot wheel broke.

It was constructed by Abkhazian masters in the form of a Latin cross with the addition of a Southeastern compartment. After the return of Christianity in the middle of the 10th century, the construction was finished by masters from Anatolia (supposedly, Cappadocia) with the addition of a northeastern compartment. Stone chairs were replaced by wooden ones. These builders supposedly, also built Senty Church in 965.

The church has a single-aisle Latin cross interior covered by a barrel vault with five chapels on either side. The Roman Mannerist painter, Luigi Garzi, painted the large picture on the counterfacade. He also painted the triangles above the arches of the chapels, the corbels of the dome, and the great vault of the nave. The dome was painted by Paolo de Matteis.

The poet William Cowper was christened in St Peter's, where his father John Cowper was rector. The parish church of St Peter, is one of the largest churches in Hertfordshire, stands on the high street. The church is in the Latin cross plan, with an clock tower at the crossing and measures from the west door to the east window, and the width across the transepts is .

His duties included the Academy's Christian Association. He also addressed many civic associations, graduations, and regularly entertained midshipmen in their home as Command Chaplain. He oversaw the enlargement of the Academy Chapel, referred to as the “Cathedral of the Navy.” The nave was extended by a thousand seats converting the design of the Chapel from a Greek to a Latin cross with 2500 seats.

The Parish Church, built in the mid-17th century, is dedicated to the Annunciation of Our Lady. and stands in the village core. The structure is in the form of a Latin cross, has one belfry and an elegant dome that can be seen from all around the village. The church is built on a Tuscan style from the outside and Doric on the inside.

The new church was designed by Guglielmo Calmieri. It has a Latin cross shape with three aisles. The main aisle is painted with frescoes (1963) by the Genoese painter Antonio Santagata (1888-1985) with scenes of the life of the Virgin Mary. The frescoes in the dome, painted by the Lombard painter Pasquale Arzuffi (1897-1965), represent Mary surrounded by the Republic of Genoa patron saints.

In Spain there were two models: buildings with a Latin cross and buildings with a single nave with chapels between buttresses. In Navarre there was a proliferation of mendicant convents during the reign of Champagne, especially with Theobald II was defined as chief patron and protector. In Castilla y León were many convents but most which have survived to the twenty-first century are badly deteriorated.

20 pp. 18-32. The Jewish stone ossuary had the Hebrew inscription "Jehohanan the son of Hagkol" (hence, sometimes, Johanan ben Ha-galgula). In his initial anthropological observations in 1970 at Hebrew University, Nicu Haas concluded Jehohanan was crucified with his arms stretched out with his forearms nailed, supporting crucifixion on a two-beamed Latin cross. However, a 1985 reappraisal discovered multiple errors in Haas's observations.

As a Crusaders' chief, Raimond would have adapted a cross slightly different from the Latin Cross bore by the low-rank Crusaders. According to this theory, the edges of the arms of the cross were cut into two pieces and curved. To be fixed on a shield, such a cross required twelve rivets. The design would have progressively evolved towards the Cross of Toulouse.

Masucci originally planned belfries, but these were not completed, and the current 18th-century campanile was built on the adjacent Palazzo Marchesi. Behind the church, the Jesuit chapter houses the town library. The layout is in the shape of a Latin cross. The nave is 72.10 m long, 42.65 m wide and 70 m high and is decorated with polychrome marbles, stucco and frescoes.

The church, presbytery, and its detached tower were built by Father Louyot in traditional Gothic Revival architecture. The church is laid out in the form of a Latin Cross with the weatherboard structure, measuring , able to accommodate 250 people. The harmonium was added by Alexandre Fils. The presbytery, destroyed by a cyclone in 1905, was a two-storey wooden structure adjacent to the church.

It has a church with a Latin cross layout and choir area, a sacristy, atrium with cross and chapels in the corners of the atrium called "capillas posas". There is also a pilgrims' gate, a cloister and quarters for the priest. The interior has a number of sculptures including one of "Our Lady of Light". The facade consists of three bodies, a pediment and four estípite columns.

An estimate in the early twentieth century pronounced the church the most costly in northwestern Ohio. The church is a Gothic Revival structure, built in the shape of a Latin cross. Its exterior consists of brick walls and a gabled roof, upheld by a stone foundation. The most prominent aspect of its exterior is a massive belfry and clock tower, approximately 200 feet (60 m) tall.

The layout is that of a Latin cross. The masterpiece inside the church is the main altar's sculptural group depicting the Liberated Slaves by Giovanni Baratta, depicting an angel with one liberated and one still chained slave.Guida storica ed artistica della città e dei dintorni di Livorno, by Giuseppe Piombanti Forni Editore, Bologna 1903, pages 199-203. Main altar: Liberated Slaves by Giovanni Baratta.

The coat of arms consisted of ten bars, five of azure and five of argent, representing the former ten counties (județe) of Greater Romania (71 in total in 1938) included in it, charged with or eagle wings displayed facing dexter with an or Latin cross in the beak (elements taken from Wallachia's historical coat of arms) standing over five peaks argent representing the Bucegi Mountains.

The later has a Latin cross plan, with a nave, two aisles and a transept. The cloister, with a rectangular plan and round arches, was finished in 1752. Some renovations occurred in 1850, when it became a hospital, and 1960, when it became the seat of the Provincial Deputy. In 1978 the church suffered a fire that destroyed the high altar and other artworks.

The earlier church was probably built during the 13th century in the shape of a stone Latin cross church with a choir. It is possible that this church has a predecessor, a smaller wooden church. When the medieval church was demolished, a wooden beam with the year 1107 carved was found. Through the course of the century the church became subject to renovation and expansion.

After it had been extended with a piece of Hantergantick granite it was re-erected at High Cross in 1988 and dedicated in 1992. It is likely that the cross originally at High Cross was a Gothic latin cross and that this cross was originally a simple wayside cross.Langdon, A. G. (2002) Stone Crosses in Mid Cornwall; 2nd ed. Federation of Old Cornwall Societies; p.

Cortland County Courthouse is a historic courthouse located at Cortland in Cortland County, New York. It was built in 1924 and is a three-story building in the shape of a Latin cross built of Indiana limestone. It is located within a three-acre park. It features a distinctive cupola and corresponding rotunda, which rests on an octagonal base, above which are 24 Corinthian columns.

None of the original Carolingian or Reconquista monastery's buildings remain. Only the church, probably rebuilt in 1083, during the height of the monastery's power and wealth, survives. The old Carolingian abbey was reformed in that year, and construction resumed in the middle years of the following century, but eventually petered out. The large building has cruciform design (in the form of a Latin cross).

Lilian H. Zirpolo, Historical Dictionary of Baroque Art and Architecture (Lanham, MD: Scarecrow Press, 2010), p. 314 Such cruciform churches were very common in the West during the Romanesque period. The Latin cross plans have a nave with aisles or chapels, or both, and a transept that forms the arms of the cross. It also has at least one apse that traditionally faces east.

The flag of Norsefire as portrayed in the film version of V for Vendetta. In the book, a blue "N" on a black flag is the symbol of the party. An "N" or "NF" are the only party symbols shown. Yet, as mentioned above, the first issue's cover also features a Greek or Latin cross merged into a pair of wings rising from red flames.

Most cathedrals and great churches have a cruciform groundplan. In churches of Western European tradition, the plan is usually longitudinal, in the form of the so-called Latin Cross, with a long nave crossed by a transept. The transept may be as strongly projecting as at York Minster or not project beyond the aisles as at Amiens Cathedral. Many of the earliest churches of Byzantium have a longitudinal plan.

Main nave view from the entrance of the church. The interior is conformed with a Latin cross plan with a rectangular headboard flanked by rectangular spaces that could have been designed as sacristies, single nave covered with barrel vault of false casetas that mask the nerves and three lateral chapels on each side communicated to each other by means of Arches of half point and with equal cover that the nave.

There is a cruise ship which sports a Cross of Tau (Tau) instead of the Latin cross perhaps as a reminder of the Order of the Antonians who had a monastery and hospital on the outskirts of the town, where they healed and tended to the sick afflicted by St. Anthony Fire, called also the holy fire, a disease now known to be caused by ingesting a fungal parasite on rye.

The north church is larger, again built using clay rather than mortar, with a south door, an east window and possibly a tower on the west end. A small early cross-carved stone is set in this church. This church is unlikely to be earlier than the 12th century. There is also a grave-slab featuring a simple Latin cross formed by two lines of three parallel grooves.

Internally, the church, built on a Latin cross ground plan, has a nave and two side aisles, all in Romanesque style and dating from the early 13th century. They are separated by elegant columns of green serpentine, the capitals being attributed to Guidetto. The vaults, designed by Ferdinando Tacca, were added in the 17th century. The north aisle houses a notable Renaissance pulpit in white marble (1469–1473).

The most distinctive element of the building is its church, situated in the central courtyard of the left side. It is built on a Latin cross plan and is broadly in the style of the Spanish Renaissance. Its distinguished main altarpiece was designed by Diego López Bueno with paintings by Alonso Vázquez based on designs by Asensio de Maeda. The church is taller than the rest of the building.

The church was built in the years 1830-1844 by the architect Bartolomeo Giuliari as a neoclassical temple, replacing the original small church of St Nicolò (13th century). The façade was finished in 1880. It has a monumental porch with four Corinthian columns. The interior has the form of a Latin cross with the transept covered by barrel vaults and the cross vault is covered by a lowered dome.

The Gothic tabernacle The most important of the abbey buildings still extant is its church, dedicated to the Virgin Mary, whose construction began in 1208 with the transept and the apse. The edifice remained partly unfinished, due to financial and political troubles within the order. The church is built on the Latin Cross plan, with the nave ending in an apse housing the high altar. The aisles support the ceiling.

Although many monasteries have been modified by the addition of bell towers, side naves or plant of a Latin cross during colonial times in later centuries, the majority were built with a single nave and a rectangular, slightly trapezoidal in the apse, with a roof of palm or artesonado, which was replaced by arched stone barrel vault ornamented with ribs attached (gothic, without any structural function, and voluntarily archaic).

Southwest view showing the 1907 portion of the building The church is constructed in the Gothic Revival. The college chapel, dating from 1907, was designed in the traditional shape of a Latin cross. In 1929, the chapel was enlarged to hold the large congregation of the cathedral, changing the proportions of the traditional cross configuration. Prior to the expansion, the bell tower was located at the northwest corner of the structure.

Starting in 1506, a number of alterations, including restructuring and enlargement overseen by the architect Antonio Abbondi (known as Scarpagnino), gave the church its current appearance. The expansion was completed in 1548, and the church was finally consecrated in 1562. It has a single-nave layout designed on a Latin cross. It has an atrium, above which is a raised choir, and culminates in an apsidal presbytery under a cupola.

An iron railing along both sidewalks sets off the church building, shaped like a Latin cross, with two side aisles, clerestory and circular chancel at the west (rear) end. Its nave is five bays long, the transept two bays, and the chancel is divided into seven sections. Two towers flank the main entrance. Structurally the nave has vaults dividing its four sections, with secondary ribs and much bossing.

Surmounting the apex of the gable is a carved stone Latin Cross. The north and south, transverse elevation feature projecting side entrances and transepts, among regularly spaced single lancet window openings. The entrances from the sides of the church, feature pointed arched doorways on the eastern face, and single window openings of plate tracery, with small quatrefoil opening above. The transepts feature large rose windows in the gables.

Interior of the cathedral, with the trompe-l'œil painting of the dome visible The cathedral is built in Baroque architecture, and its groundplan has the shape of a Latin cross. The building's façade is similar to that of the Church of the Gesù in Rome. The cathedral has a bell tower on its north-east side. The interior of the cathedral is well-proportioned, containing pilasters raised on tall platforms.

This was commemorated by an inscription. The present church was built on the footprint of the old chapel, with the current building's nave now corresponding with the old chapel walls. The chapel was enlarged in 1593 and again in 1603, with the additions of a transept and an altar. With the addition of the transept, this was the first church in Malta to be given the form of a latin cross.

The cathedral has a Latin cross groundplan, with a nave and two aisles. In the southern aisle are the baptistery and, at the first altar, a canvas of Saint Febronia of Nisibis by Borremans facing, on a pilaster, the tomb of the composer Vincenzo Bellini. Also on a pilaster between this aisle and the nave is the Baroque monument of Bishop Pietro Galletti. Also notable is the Chapel of St. Agatha.

The architect skillfully maximized the very small space left between the presbytery (on the right) and the 16th-century Theodoli Chapel (on the left), and created the impression of "a miniature Latin-cross church, complete with transept, domed crossing, and choir. The nave [...] is supplied by the visitor's motion, his sense of direction and focus".Leo Steinberg: Observations in the Cerasi Chapel, in: The Art Bulletin, Vol. 41, No. 2 (Jun.

The temple has the floor plan of a latin cross, with three naves and 3 chapels, with a semicircular apse and a square tower at the foot, in grey stone and blank walls, with semicircular arches, 3 floors, and stone and wood niches. The lateral porticos are supported by columns. It ends with an octagonal capital of exposed ashlars crowned by one giant stone. In the corners there are zoomorphic gargoyles.

In the process, many buildings of architectural and historical value were demolished. Historical buildings around Guadalajara Cathedral were also demolished to leave large open spaces on the four sides of the Cathedral in the form of a large Latin cross, in which the Cathedral is now centered. There were other, somewhat less controversial, projects to improve the flow of traffic and increase commerce in other parts of the city.

The Latin Cross form increasingly popular in Counter Reformation Catholicism, was also used, as in Smith's Canongate Kirk (1688–90), but the Presbyterian revolution of 1689–90 occurred before its completion and the chancel was blocked up, effectively transforming it into a T-plan.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. 143.

The church is preceded by an atrium enclosed by railings. It has a Latin cross plan, with a nave and two aisles separated by semicircular arches and several side chapels and the altarpieces belong to the Neoclassical-Romantic school. It was, however, reconstructed after suffering several fires, so few remnants of the original church, such as the bell-tower, remain. In 1870, the loggia and atrium were added.

The Rev John Whitaker, author of The Cathedral of Cornwall and other historical works, was Rector of Ruan Lanihorne for thirty years (1778–1808). The Old Rectory cross is a small Gothic latin cross in the grounds of the Old Rectory. It was found buried in the churchyard before 1920 and taken to what was then the new rectory.Langdon, A. G. (2002) Stone Crosses in Mid Cornwall; 2nd ed.

Above the main portal of the façade is a marble bas-relief depicting St George slaying the Dragon. The interior has a Latin Cross plan. The church no longer has the rich complement of paintings once in the side altars. The Pernicelli chapel was restored in 2009 and houses an altarpiece depicting St Ignatius and St Francis Xavier adoring the Blessed Virgin of Ghiara (1640) by Alessandro Tiarini.

A gold crown is used to suspend the cross from the ribbon. Aside from that of the Cross of Honor, the ribbon bars of each grade also bear a device, dependent on the grade received. The ribbon bars of the Plate, Commendation, and Cross of the Cruz Fidélitas bear a Latin cross fleury, in gold, silver or bronze, respectively. The ribbon bar of the Grand Cross features a Spanish Royal Crown.

Built primarily of sandstone, St. Mary's is a high Gothic Revival structure with a facade of two nearly identical towers and a Latin cross floor plan. The entire building measures from north to south and on the sides. Sculptures are placed in small alcoves on the second stories of the towers and at the peak of the front gable, while windows and belfries occupy the higher stories of the towers.

The St. Charles Borromeo parish complex consists of four buildings, three of which are historically significant: the church itself, the rectory, and the school. The church is built with red-brown tapestry brick on a white Bedford stone foundation, with trim of the same stone. The church is built in a Latin Cross plan, 92 feet across and 180 feet in depth. The design is Romanesque with Arts and Crafts elements.

The reverse of the Cross of Mathilde The Cross of Mathilde is tall and wide and the cross beams are wide and deep. It consists of an oak core covered in gold sheet. Under the cross is a modern glass ball which serves as a handle. The ends of the Latin cross are flared in a way found in Mathilde's First Cross and the Ottonian Cross of Lothair at Aachen.

The plan of the basilica is a Latin cross, covered by five domes and an apse lit by three windows, whose central body is covered with a stained glass window depicting the patron saint. It is an example of Romanesque/Byzantine architecture. Below the chancel are the crypt, shrine of the saint. The arches are supported by marble columns with Corinthian capitals, which were retrieved from devastated ancient monuments.

The Metropolitan Cathedral of Our Lady of MonterreyMetropolitan Cathedral of Our Lady of Monterrey () also Monterrey Cathedral is the main Catholic church and home of the Archdiocese of Monterrey. It is located in the capital of the state of Nuevo León in Mexico. The building has a central nave in the shape of a Latin cross flanked by niches chapels. The ship has arched vaults topped with an octagonal dome.

The Cross of Sacrifice is a Commonwealth war memorial designed in 1918 by Sir Reginald Blomfield for the Imperial War Graves Commission (now the Commonwealth War Graves Commission). It is present in Commonwealth war cemeteries containing 40 or more graves. Its shape is an elongated Latin cross with proportions more typical of the Celtic cross, with the shaft and crossarm octagonal in section. It ranges in height from .

The brick façade was left incomplete, in the sense that it was never fully faced in marble or stone. The church is built on a Latin cross ground plan. In the interior Giuliano appears to have been influenced by Brunelleschi's design of San Lorenzo, Florence, particularly in the use of alternating columns and pillars, especially noticeable in the arcades separating the central nave from the two side-aisles.

There are two stone crosses. The smaller depicts both a ringed and a Latin cross on its faces, while the larger granite cross, which may have originally been a boundary or grave marker, stands proudly a few metres apart from the smaller cross. Along the boundary to the right of the new church is a large granite baptismal font which may date back to the original monastic times.

Window of the Cathedral The Cathedral of Petrópolis is a Neo-Gothic church of Latin cross with little pronounced transept and three naves. The headboard has an ambulatory connected with the main chapel. The cathedral measures 70 meters in length and 22 meters wide, with a height of 19 meters on the naves. The main facade of the church has a portal with multiple archivolts in the form of pointed arches.

The chapel was designed by the firm of Patton, Holmes, and Flinn, who had organized an architectural plan for the college and designed eight other buildings. The chapel is of English Gothic Revival design, with a Latin cross shape and a tall bell tower. The interior has a dark wood ceiling with dark beams. It hosts services from a variety of religious traditions as well as weekly Carleton functions.

St. Willibrordus is built in the shape of a Latin cross. The building parts are grouped around the tower that is centrally located in the church typical of Flemish ecclesiastical architecture. The choir church has a choir aisle on the east end of the basilica from which eight rectangular side chapels and three polygonal radial chapels extend. These chapels were originally built for the craft guilds who worked in Hulst.

Their arms are intertwined and shown to be literally holding up the Church of Letrán. Inside, the floor plan of the church is that of a Latin cross. The main altarpiece is neoclassical and the work of Manuel Tolsá, which was created to replace the original Baroque one done by Pedro Patiño Ixtolinque. The altar to the left of the transept is dedicated to the Virgin of Covadonga.

Sant Martí de Maçana is mentioned as a parish in 1154, within the old term of the Maçana castle (now defunct). First, it was dedicated to Saint Martin of Tours, but then, in the 14th century, it was dedicated to Saint Acisclus. Its architecture is in the plan of a Latin cross and covered with a pointed vault. Nowadays, the pattern of the church is of Saint Martin and Saint Mark.

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.

Plan of the church with various extension phases The cathedral of Florence is built as a basilica, having a wide central nave of four square bays, with an aisle on either side. The chancel and transepts are of identical polygonal plan, separated by two smaller polygonal chapels. The whole plan forms a Latin cross. The nave and aisles are separated by wide pointed Gothic arches resting on composite piers.

The dome outside is decorated with tiles forming Maltese crosses, a symbol of the Trinitarians. The basic floor plan is that of a Latin cross, common to churches in the 17th and 18th centuries. It has a vaulted roof of eight sides which reaches to a central point, containing windows for lighting. The church is of the profusely- decorated Baroque style, but some areas, like the roof are relatively unadorned.

The interior is a Latin Cross plan with abundant stucco decoration and a cupola. The interior has a Caravaggesque painting of St Anthony resurrects a dead man by Battistello Caracciolo. The third chapel on right has frescoes (1770) by Giacomo Cestaro and a painting depicting St George slays the Dragon by Andrea da Salerno. The altar has a marble relief of Sant'Agostino of the 17th century Tuscan school.

The base of the container is gold stamped with a dot pattern into a shape of a Latin cross, with circular or disc shaped ends. Overall, the box is small in size and packs in many narratives and figures. Its cloisonne is considered crude and lettering is botched for Byzantine standards. Other scholars have called it naive and stiff compared to other cloisonné and enamel pieces of that period.

When the abbey was dissolved during the Reformation, the church became the parish church of Løgumkloster. Løgumkloster Church (Løgumkloster Kirke) and one wing of the conventual buildings have survived to modern times. The church was built as the north range of the abbey precinct in the form of a Latin cross with a nave and two side aisles. Chapels were added down the sides of the nave over time.

The church was originally dedicated to the Apostle St Peter, and was built by the year 1200, but heavily damaged during the second world war. It has undergone marked restoration, including of frescoes relating to the plagues and Herod and Salome The church has two naves, and has a Latin cross layout. It contains a canvas painting depicting the Holy Savior by Girolamo Siciolante da Sermoneta.Comune of Bassiano, entry on church.

Octagonal dome extending 40 ft. above the roof of the Ira Allen Chapel (from the south) The building's footprint was constructed in the shape of a Latin cross. There is a 170 ft. high (by 20 ft2) bell tower offset to the northwest corner of the nave of the main structure that is fitted with four clocks (one for each side of the tower) measuring eight feet in diameter.

The central nave is laid out in the form of a Latin cross with a vaulted ceiling. Aisles on each side are separated from the nave by masonry pillars, with the clerestory windows above. On each side of the church, three-story cross-gabled units present arched entryways and flat- topped diamond-pane windows. The church contains carvings by the German sculptor Alois Lang and stained glass windows designed by the Willet Studios.

Crosses at the Cemetery after an Anniversary commemoration The Cemetery is divided into ten plots. It forms a latin cross, with the Chapel in its middle, and the Memorial and Wall of the Missing at its base. It faces the United States, in the direction of a point between Eastport and Lubec, Maine. This is accidental, as the Cemetery was built parallel to the beach on the lands granted by the French.

The emblem of the church portrays a white Latin cross, hovering above stylised waves on blue background. The sun rises at the horizon of those waves, symbolised by 10 rays. There is no definite interpretation of its meaning. According to Peter Johanning, spokesman of the church, the various elements can be interpreted as Crucifixion of Jesus Christ (cross), Holy Baptism (water) and as Holy Sealing (sun), referring to the three sacraments of the church.

The brick facade is sober and surmounted with slender pyramidal pinnacles. The layout is of a Latin cross, with interior stucco decoration. Mudéjar style bell tower The mudéjar-style tower was not built until 1774 - 1777; the architectural style, while atavistic matched other towers in the city and was pursued by the designs of Mosén José Jimeno of Ateca. As typical for that style, the degree of decoration increases with the height.

Bell tower attached to the church Between 1875 and 1893 the cathedral was completely transformed because of the Bishop Petagna. The plan took the shape of a Latin cross, and the transept and presbytery were built together with the chapel for San Catello. During the excavations of the patron saint's chapel, workers discovered the rest of a Paleochristian necropolis, segments of streets, and doors belonging to ancient Roman homes. This place was named Area Christianorum.

The central door is bigger and has more decorative elements than the other two. The church of Maria Santissima Assunta is a basilica with a Latin cross shape. The inside is divided into three aisles, a nave, and two smaller side aisles on which five chapels open up. The pavement is made of black and grey marbles, squared and octagonal, and in the center of the nave there is the ancient stabian priests' grave.

The original building built between 1876 and 1891 and designed by Antonio Cua followed a Latin cross plan. It was only . The construction of the façade, work of Giovanni Rispoli, started on the 15 May 1893. The facade culminates with the statue of the Virgin of the Rosary (, ), work of Gaetano Chiaromonte, carved from a single block of Carrara marble, beneath which are placed the word "PAX" and the year "MCMI" (1901).

The church is in the form of a Latin cross, following the general rule of church design found in the majority of churches in Malta. It thus comprises a choir, two transepts, a central nave and two sacristies. While the edifice was still under construction, parish priest Rev. Pietro Zerafa, who took over the administration of Qrendi in 1701, ordered the dismantling of part of the already built structure to enlarge the church.

The church was built in the Romanesque style in the 12th century (with further alterations later). In plan it takes the form of a Latin cross. It consists of a single nave with 3 wings separated by pointed arches with archivolts decorated with chequered imposts and the capitals are adorned with flowers and chimeras. Traces of the original paint on the capitals, which had been maintained for several centuries, still remain visible today.

Facade Interior Mazzola's polyptych The Basilica of Santa Maria delle Grazie or Collegiata is a Gothic style, Roman Catholic church and cathedral of Cortemaggiore, in the Province of Piacenza, region of Emilia-Romagna, Italy. The church was built in 1480 using designs by Gilberto Manzi for a Latin cross layout. The belltower (1881) was added by Gaetano Guglielmetti. The interior conserves a valued polyptych, composed by twelve pieces, by Filippo Mazzola, the father of Parmigianino.

Don Jose Ledesma commissioned an Italian architect, Lucio Bernasconi to design the new church. Bernasconi was also responsible for the design and construction of the Silay Wharf, which was razed by Imperial Japanese soldiers during the Second World War. Bernasconi took the churches in his native Italy as the model for the Silay church. The church's layout is in the shape of a Latin cross, with a cupola rising forty meters above the nave.

The interior is on the Latin Cross plan, with three aisles. It contains a baptistry which is earlier than the present church, and a statue supposedly of Adelaide, Marchioness of Turin, daughter and heiress of Olderico Manfredi and wife of Otto, Count of Savoy, ancestress of the Royal House of Savoy.It is not clear whether she is also buried here. The statue in any case is more likely to be of Mary Magdalene.

It has a rectangular name and forms a small Latin cross. The main square of the town contains a kiosk, and is surrounded by portals and a municipal market which is very typical for this area. Market days, when the town's streets fill with street vendors from the rest of the municipality, are Thursdays and Sundays. Tenango de Arista gained city status in 1994, but still retains much of its rural character.

Like the majority of medieval cathedrals, those of England are cruciform. While most are of the Latin Cross shape with a single transept, several including Salisbury, Lincoln, Wells and Canterbury have two transepts, which is a distinctly English characteristic. The transepts, unlike those of many French cathedrals, always project strongly. The cathedral, whether of monastic or secular foundation, often has several clearly defined subsidiary buildings, in particular the chapter house and cloister.

Bell towers detail The parish is located in a small ravine to the west of the old city of Taxco. It has a Latin cross plan, with an aisle chapel which serves as the altar of the souls. It has Churrigueresque twin towers and a chapel decorated with Talavera tiles, typical of New Spanish architecture. The church is narrower than most due to the lack of flat land on which to build in the area.

Above the portal is also a large window in the Baroque style. The perimeter wall rests on a massive support structure built with huge limestone blocks from the nearby archaeological site. The interior has undergone numerous transformations over the centuries and the present reflects a Baroque style. Subsequent to 1696, the building took the shape of a Latin cross, divided into three naves bounded by large plastered square pillars, which support the six arches.

Architect Leon Coquard of Detroit designed the cathedral in the French Gothic style. Its character is influenced by the 13th-century Saint Nicholas Collegiate church (collégiale Saint-Nicolas) of Munster, Moselle, France, which is the birthplace of Bishop Nicholas Chrysostom Matz, who supervised cathedral construction. The building is in the shape of a Latin cross measuring with the nave rising to . The main façade houses three entrances and is framed by two spires.

The limestone memorial takes the form of a small medieval-style Latin cross and plinth. The plinth has tracery decorative detail on each corner and flower motif in a band around the top. The names of the nine men from the parish who lost their lives fighting in the First World War are inscribed on the plinth and painted black. The memorial is surrounded by concrete paving and wooden posts with chain link.

Cathedral interior, decorated for the festivities of 2012 in honour of the Assumption The cathedral interior has a Latin cross floorplan. The nave is divided into three aisles by pilasters; the transept leads into a large presbytery. The side chapels and altars in the two side aisles are new. To the south are altars dedicated to Saint Gerardo Maiella, to the Adoration of the Magi, to Saint Anthony of Padua and to the Crucifixion.

The main church is one of the oldest in Mexico, which the first stone laid in 1549 by Martin de Hojacastro, who would be the third bishop of Puebla. The facade of the main church is smooth and its corners are reinforced with diagonal buttresses. The towers have arched windows, columns and a small dome topped by iron cross. The interior has a Latin cross layout, covered with vaults and a cupola.

London: Philip's, 2003; p. 88 Between 1863 and 1884, the A3071 road, was a turnpike serving the mining industry at St Just for the transport of ore to the nearest harbour in Penzance. A toll house, two miles west of Penzance, can still be seen on the crossroads. Tremethick, Tremathick or Trereife cross is a stone Latin cross which was brought to this site from Rose-an-Beagle in the parish of Paul.

The Neo-Gothic chapel is built in a Latin cross configuration with a tower at one corner. The narthex is designed to be similar to the Chapter House of Wells Cathedral, and the cloister (enclosed in 1957) is modeled after the one at Canterbury Cathedral.Christ Church history , page 1 The exterior of the chapel is covered with iridescent sandstone. The roof is covered with slate, with copper ridges and a copper spire.

The German blazon reads: Von Grün und Silber geteilt. In Grün ein 12endiges, silbernes Hirschgeweih mit Grind, einschließend ein silbernes Kreuz, in Silber 2 schragenförmig gekreuzte blaue Rodehacken mit schwarzen Stielen. The municipality's arms might in English heraldic language be described thus: Per fess vert a stag's attires each pointed of six fixed to the scalp, between them a Latin cross, all argent, and argent two clearing hoes in saltire azure helved sable.

On December 23, 1669 the cornerstone of the new church was laid. The church was built in the form of a Latin cross. Works were completed by 1695 and the church was blessed that year on January 23 by Bishop Davide Cocco Palmieri and consecrated by Bishop Vincenzo Labini on October 7, 1781. A belfry was also added in 1708 which today includes 6 bells made in Annecy, France, by Fonderie Paccard.

The Chiesa Matrice is a church in Erice, Sicily, southern Italy. It dates back the beginning of the 14th century (an original fresco dates back to 1420) and is built in the shape of a Latin cross with two entrances. The church is enriched by numerous Baroque altars and paintings from the 17th century. A silver statue of St Anthony of Padua dates back 17th century and is an example of Neapolitan silver-craft.

The dimensions are approximately 106 feet long, 30 feet wide from aisle wall to aisle wall, and 37 feet high to the crest of the roof. Scott described his plan thus: :The form was a Latin cross with very short transepts, (10 feet outside measurement). A short choir, (12 feet outside measurement), and a semi-circular apse of 8 feet radius. The aim was to make a comely Presbyterian place of worship.

The church, since 1939, presents a Latin cross shape. It is divided into three naves accessible by three doors on its facade. These aisles are 42 meters long and end in three different points of the building: the left aisle ends at the entrance of the sacristy, the nave reaches the chancel and the right aisle ends with a door. On the southern side of the church there are two other entrances.

The pews were also added 1880, though a single gothic pew was "rediscovered" in 1856, which may have originated from Antvorskov monastery. In its form today, the church is considered a cruciform church because its floor plan resembles a latin cross. The tower is built on the western end of the nave, the church porch to the south, and the sacristy on the southern end. The interior walls of the church are whitewashed and vaulted.

Sandal Magna's church is dedicated to St. Helen, the mother of Constantine the Great. At the time of the Norman Conquest Sandal Church was a possession of the crown. The Saxon church was recorded as one of two churches in the Wakefield manor in the Domesday Book of 1086. In about 1150 the first church was replaced by a second church in the shape of a Latin cross by Earl Warenne of Sandal Castle.

The Spaniards used the Incas as a labour workforce to build the cathedral. The original designs for the large construction were drawn by the Spanish architect and conquistador, Juan Miguel de Veramendi. His design of a Latin cross shape incorporated a three-aisled nave, where the roof was supported by only 14 pillars. Over the 95 years of its construction, the building work was supervised by Spanish priests and architects, until its completion in 1654.

The plaza side portal has two levels with stone columns and a sculpted scene of the crucified Christ with the Virgin Mary and John the Evangelist. The market side portal is Baroque and is dedicated to the Virgen del Patrocinio, patron of the city. The interior has a Latin cross layout with two naves and with the roof supported by Doric order columns. The altarpieces are made of stone in Neoclassical style.

Monte Guasco, in Ancona, is the location of the Duomo, and is dedicated to Saint Judas Cyriacus. It is said to occupy the site of a temple of Venus, who is mentioned by Catullus and Juvenal as the tutelary deity of the place. It was consecrated in 1128 and completed in 1189. Some writers suppose that the original church was in the form of a Latin cross and belonged to the 8th century.

Muzio has designed the church in plan as Latin cross, the central nave is covered by Barrel vault and ends in the Apse. The Baptistery, in the left in a lateral chapel, has an octagonal shape and contains San Giovannino a sculpture by Giacomo Manzù. From 1996 the church hosts Untitled, the last installation of Dan Flavin. The design was completed two days before Flavin's death on November 26, 1996 and installed a year later.

Coat of arms of the Bishop Antônio de Castro Mayer, carved in a wooden door in a Church. In the Catholic Church, display of a cross behind the shield is restricted to bishops as a mark of their dignity. The cross of an ordinary bishop has a single horizontal bar or traverse, also known as a Latin cross. A patriarch uses the patriarchal cross with two traverses, also called the cross of Lorraine.

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.

The cross is high and wide, with a core made of oak. It is a Latin cross, but the ends of the beams are flared, a feature found in many Ottonian jewelled crosses. Through their double ridges and triangles, the trapezoidal extensions are very close to those of Cross of Lothair in Aachen, which is usually dated to around 1000.But seen by Lasko, 101 as contemporary with this cross, or even earlier.

Nave looking east, showing the high arches of the arcades The church is in a Romanesque-Gothic style. It has a west front of white marble, featuring a portal with a small Gothic rose window above it, between two side blocks of the 17th century. To the south is the battlemented campanile, the sole remnant of the ancient Pieve di San Basilio. The ground plan is in the form of a Latin cross.

The museum is modeled on a classic temple. “…The groundplan [is] in the form of a Latin cross, [with a] polygonal nave, a dome above the intersection, [and] a monumental side entrance…” As far as the decoration is concerned, the entrance is decorated by two sculptures next to the entrance door. These female figures are said to be an allegory of History and Industry. These two are accompanied by a third figure made from bronze.

The stone church is built in a Latin cross form, but the nave, transepts, and apse are minimal in size compared to the crossing, resulting in a large central space. The architectural style is Richardsonian Romanesque. Features include a slate roof, turrets, buttresses, and rose windows. Rose window on the south wall A devastating fire in the church building in 1919 destroyed many of the original stained glass windows, but the building was promptly restored.

Pietro De Marino designed the church (built 1629–1659); it was consecrated to Holy Mary of Peace, because it was the last year of the agreed peace and truce between Louis XIV of France and Philip IV of Spain. The church has a Latin cross plan. The interior was restored after the earthquake of 1732 by Domenico Antonio Vaccaro; by Donato Massa and decorated with Majolica tiles. The apse was designed by Nicola Tagliacozzi Canale.

The memorial is built in white granite from Kit Hill Quarry, Callington, Cornwall, and consists of a Latin cross, the shaft of which is about high. The shaft stands on an octagonal plinth on a base of three octagonal steps. At the base of the shaft are scrolled brackets. The memorial is set in a small garden, on a paved platform, and is approached from the road by a set of steps.

Broome County Courthouse is a historic courthouse located at Binghamton in Broome County, New York. It is a massive -story structure, built on a raised foundation, in the form of a Latin Cross and topped with an elegant copper dome. Originally constructed in 1897–1898 in a "T" shape, the south wing was added in 1916-1917 to form the cross. It was designed by noted New York State architect Isaac G. Perry.

With The church building was designed by Henry Messmer of Milwaukee in Romanesque Revival style, with rusticated limestone foundations supporting cream brick walls. The general form is a large gable roof with a square centered tower at the front (pictured). High in the tower is a rose window, above that a belfry clad in ornamental sheet metal, and then a slate-roofed spire topped with a Latin cross. Across the front is a brick narthex added in 1939.

Interior The main altar Construction of the Mannerist church building, with a Latin Cross layout, was begun in 1595. It has an imposing white marble facade and a peaked dome at the crossing of the transept. The first altar at the right depicts the Mass of San Cerbone (1630) by Rutilio Manetti. It depicts a miracle that occurred when the holy bishop of Massa Marittima saw apparitions of angels at a service he invoked for the pope.

Cathedral interior looking east The cathedral is built on a Latin cross plan. The nave is subdivided into three aisles, of which the central one is the widest and tallest, separated by two arcades of round arches supported by Corinthian columns. The main nave and side aisles are roofed with wooden beams, whereas the transept has groin vaulting. At the entrance to the southern aisle is the font, made by Piero di Moricone from Lugano in 1507.

Interior Interior The interior is in great contrast with the rough and bare aspect of the exterior. A renaissance design is attributed to Baldassare Peruzzi. The church was enlarged in the fourteenth or fifteenth century, as seen in the interior of a Latin cross, where the Gothic style of the transept and apse joins the Renaissance style of the three aisles. The Renaissance style does not continue into the transept and apse, which are in the Gothic style.

St. Lukes Episcopal Church is a historic Episcopal church located at 6th and Chestnut Streets in Lebanon, Lebanon County, Pennsylvania. It was built in 1880, and the cornerstone of the church was laid on St. Luke's Day, October 18, 1879 by Bishop Howe. It was designed by noted New York architect Henry Martyn Congdon (1834–1922) in the Gothic style. The building is in the form of a Latin Cross and constructed of native bluestone and sandstone.

The church was designed in the French High Gothic style by French master builders including Étienne de Bonneuil. Built high on a gravel ridge southwest of the River Fyris, its Latin cross ground plan consists of a three-aisled basilica (a central nave flanked by two lateral aisles) with single-aisle transepts, and a four-bay chancel with an ambulatory surrounded by five chapels. The seven-bay nave is bordered by chantry chapels on either side.

Mother's Helper is a public sculpture by American artist Derek Chalfant located on the Indiana University – Purdue University Indianapolis (IUPUI) campus near downtown Indianapolis, Indiana. The piece is located in a small alcove near the ramp to the west entrance of the Joseph T. Taylor Hall (formerly the University College building) at 815 W. Michigan Street. Mother's Helper is a 16'-tall stainless steel highchair. The rockers on the highchair straddle a large stainless steel Latin cross.

During the Spanish colonization of the Americas, from the 16th to the 18th centuries, thousands of churches were built in Mexico. The churches vary, but surviving examples from central Mexico are typically on a latin cross plan with a brick dome on a drum at the crossing. Adobe was widely used in early examples but these buildings were often destroyed by earthquakes or replaced. Thick rib cross- vaulting in a dome-like shape was used in the 16th century.

This small rectangular church on the southern shore of the Upper Lake is accessible only by boat, via a series of steps from the landing stage. West of the church is a raised platform with stone enclosure walls, where dwelling huts probably stood. The church, partly rebuilt in the 12th century, has a granite doorway with inclined jambs. At the east gable is an inscribed Latin Cross together with several plain grave slabs and three small crosses.

Cross burning was introduced by William J. Simmons, the founder of the second Klan in 1915. The distinctive white costume permitted large-scale public activities, especially parades and cross-burning ceremonies, while keeping the membership rolls a secret. Sales of the costumes provided the main financing for the national organization, while initiation fees funded local and state organizers. The second Klan embraced the burning Latin cross as a dramatic display of symbolism, with a tone of intimidation.

The Ancient and Mystical Order Rosae Crucis, commonly known as the Rosicrucian Order, AMORC, is the largest Rosicrucian group today, with twenty-three Grand Lodges or Jurisdictions worldwide. There are two primary versions used by the Ancient Mystical Order Rosae Crucis. One is a Gold Latin Cross with a Rose at its center. Another is a downward pointing triangle with a Greek (equilateral) Cross inscribed within the triangle and a top oval reminiscent of an Egyptian Ankh.

Vault of the central nave. The cathedral, is currently composed of a Latin cross plant, with three naves, ample transept and head with a large apse, which it contains the main chapel, surrounded by the ambulatory. It is 80 meters long by 31 meters in width, from one extreme to the other crossing, and 28 m, in length, in the other naves. The central nave, just over 10 meters wide, is 28 m high, the lateral 21 m.

Characteristically the rectangular window is divided into four individual lights by a mullion and transom in the form of a Latin cross. The window cross was original made of stone ('stone cross-window'); not until the Renaissance and Baroque periods did the timber cross-window emerge (e. g. on the abbey castle of Escorial and on other buildings in the Herrerian style). Where the transom is in the middle, the window is divided into four lights of equal size.

Interior of St Paul's, circa 1917 St Paul's Church occupies a whole block within the city centre of Ipswich. The site includes the church, church hall, rectory, gardens and perimeter limestone walls, all of which are dominant landmark elements within the urban setting. The Revival Gothic church is of Latin cross plan form, with the sanctuary placed at the western end. External walls are of face brickwork and contain five arched windows of stained glass with small pivoting vents.

On 15 October 1385, and 6, 7 August of 1409 the monastery was visited by King John I of Portugal. The present church was built in 1659–79, with a project by Br. João Turriano, son of a Milanese architect, Leonardo Turriano. It has a processional Latin cross and a single nave. The facade has three niches in which are housed the sculptures of Santo Tirso in the center, flanked by S. Bento and Santa Escolástica.

Tower Arches Capital Door detailing Statuary Commemorative plaque Interior view of the monastery church Grounds It was built in the mid-12th century with the only ornamentation being that of the porch, decorated with columns and capitals. Its plan is a Latin cross, with four square apses. The largest of these has the same width as the nave while remaining open to the sides of the transept. The roof of the nave is a pointed arch supported on arches.

The church is built using rock extracted from quarries of the nearby La Colilla. However, as in all the churches of Avila where this rock is described as sandstone, it is in fact decomposed granite. It is attributed to Giral Fruchel, the architect who introduced the Gothic style in Spain from France. San Vicente is on the Latin cross plan, with a nave and two aisles ending in semicircular apses, with a large transept, ciborium, atrium and a crypt.

The interior, on the Latin cross plan, had originally a nave and four aisles, two of which were turned into side chapels in the 18th century. The church has seventeen altars: the main one has a decorated portal with the coat of arms of the Adorni family, whose tombs were inside the basilica. Notable is also that of St. Francis of Paola, a Baroque piece of art by Francesco Antonio Zimbalo. The nave has a rich wooden caisson ceiling.

In 1514, Arduino degli Arriguzzi was chosen as the architect to construct the dome. His proposal included a large dome resting upon the width between the side aisles, which necessitated larger transepts and apses. This led to a form of a Latin cross, which was said to outdo St. Peter's Basilica in Rome. The project was considered too complicated, and after building the first two pillars and two triangular pylons for the dome, the work was halted.

A Roman milestone was found in the foundations of the church in 1854, and it is now fixed in the south aisle. The inscription, Imp Caes Flav Val Constantino Pio nob Caes divi Constanti Pii F[el] Aug[usti] filio, refers to the Roman emperor Constantine the Great (Collingwood (1965) RIB no. 2233). The churchyard contains both British and Roman crosses. There is a Cornish cross in the churchyard; it has a Latin cross on both sides.

Because the restricted geography permits only four major entrances to the Salt Lake Valley, routes for long distance travel through the valley are mainly confined to an east–west strip through Salt Lake City and South Salt Lake and a north–south strip near the Jordan River. These corridors cross in the area between South Salt Lake and Downtown Salt Lake City and together form a latin cross of transportation infrastructure that is almost perfectly oriented north-to-south.

The foundations were completed for a new transept and choir to form a domed Latin cross with the preserved nave and side aisles of the old basilica. Some walls for the choir had also been built. Pope Julius II planned far more for St Peter's than Nicholas V's program of repair or modification. Julius was at that time planning his own tomb, which was to be designed and adorned with sculpture by Michelangelo and placed within St Peter's.

The Garrett County Courthouse is a historic county courthouse located at Oakland, Garrett County, Maryland, United States. It is a three-story, 1907-1908 neo-classical Renaissance Revival masonry structure in the form of a Latin Cross with a central rotunda and dome. The Courthouse was designed by James Riely Gordon (1863–1937), a New York architect who specialized in designing government buildings. The Garrett County Courthouse was listed on the National Register of Historic Places in 1975.

After the death of Bonafari the work was completed by his wife Sybil. In his will of November 1421, Bonafari asked to be buried in the new church. The building was built on a Latin cross, in Gothic style; it was consecrated on October 24, 1430. In the middle of the fifteenth century the chronicler Savonarola calls templum quidem magnum but at the end of the century it was already insufficient for the community of Minors.

The cathedral's construction began in 1559 on the foundations of Kiswarkancha. It is shaped like a Latin cross. The location of Viracocha's palace was chosen for the purpose of removing the Inca religion from Cusco, and replacing it with Spanish Catholic Christianity. Because 1559 was only 26 years after the conquistadores entered Cusco in 1533,Peru, Lonely Planet, Sara Benson, pp 222/223, 6th Edition, 2007 the vast majority of the population was still of Quechua Inca descent.

The Good Shepherd by William Bloye Latin Cross by William Bloye The church was built between 1933 and 1935 to designs by the architect Holland W. Hobbiss by the firm of William Deacon and Son of Lichfield. The church contains two sculptures by William Bloye. The side chapel was fitted out in 1951 with panelling and an altar from St Stephen the Martyr's Church, Newtown Row. It became a parish in its own right on 28 May 1965.

In 1810 the calvary was re-erected but with a wooden cross, this replaced in 1836 by a cross in stone. Then from 1897 to 1898, the sculptor Yann Larhantec carried out a substantial restoration, taken further in 2009 by Pierre Floc'h. The Calvary is dedicated to St Yves the parish's patron. The enclosure church itself dates to 1523 and is designed in the shape of a Latin cross with a nave and eight side chapels.

The papal cross has three traverses, but this is never displayed behind the papal arms. Beginning in the 15th century, the cross with a double traverse is seen on the arms of archbishops, and relates to their processional cross and the jurisdiction it symbolizes. Except for cardinals of the Roman Curia, most cardinals head an archdiocese and use an archiepiscopal cross on their arms. Other cardinals use a simple Latin cross,Noonan, The Church Visible, p.191–192,194.

The church is Romanesque Revival style with neo-gothic elements. The exterior is clad in brick; the facade is salient and has, at the center, the portal with mosaic bezel and, at the top, the circular canopy. The bell tower, inspired by that of San Marco in Venice was added later, in 1929, it is home to a concert of six bells. The interior has a Latin cross with three naves, with vaulted ceilings and stained glass windows.

A battlemented edge coping surrounds the top of the sandstone section of the tower. Surmounting this, is a timber extension recessed from the edge of the sandstone section and with timber louvred trefoil lancet openings. The tower is roofed with a lead sheeted onion dome, with expressed ribs and surmounted by a Latin cross made from metal. The gabled eastern end of the entrance facade, projects past the adjacent tower only at the ground floor level.

The building is situated on the Plaza de Armas. It is designed in the Spanish Baroque style, and is in the form of a latin cross, with a dome above the crossing. The façade is interesting in that it involves the use of solomonic columns which were not widely used in New Spain at the time. It has an octagonal window that was shipped from Germany and is considered a fine specimen of the glassmakers art.

The gardens are now open to the public by appointment. Within the gardens are also Cornish crosses, an extensive camellia wall, a folly dairy and a quartz grotto garden. The garden is open to the public only by appointment. There are two Cornish crosses here: the original site of the first cross is unknown; on the front of it is a curious representation of Christ with his right hand raised and on the back a Latin cross.

Llorens Torres' book, "El Grito de Lares", deals with the attempted overthrow of the Spanish government on the island with the intention of establishing the island as a sovereign republic. In the book he describes the revolutionary flag created by Mariana Bracetti. The flag was divided in the middle by a white Latin cross, the two lower corners were red and the two upper corners were blue. A white star was placed in the upper left blue corner.

This generation of Romanesque cathedrals included the already-mentioned Braga, Oporto, Coimbra, Viseu, Lamego and Lisbon. All Portuguese Romanesque cathedrals were later extensively modified with the exception of the Cathedral of Coimbra (begun 1162), which has remained unaltered. Coimbra Cathedral is a Latin cross church with a three-aisled nave, a transept with short arms and three East chapels. The central aisle is covered by a stone barrel vaulting while the lateral aisles are covered by groin vaults.

Interior The church of Santa Maria di Montesanto and the annexed monastery were built in Naples, Italy, by a community of Carmelite friars that had its origins in Montesanto, Sicily. The initial architect was Pietro De Marino, but the work including the cupola (1680) was completed by Dionisio Lazzari. The facades, done in the 19th century by Angelo Viva, depict Our Lady of Carmel (the Madonna del Carmelo). The interior is on a Latin-cross plan.

The Lucchese fathers remained until their order was suppressed under the French occupation; they were reinstated during the Bourbon restoration. Ultimately they were again expelled after unification of Italy under the House of Savoy in 1862. Interior Statua della Madonna Addolorata The interior, in Latin cross with chapels, displays gran Baroque pictorial cycles: Glory of Santa Brigida, St Nicola,The Last Judgment and The Passion, by Luca Giordano. The painter himself is buried in the church.

The church was built in the shape of a Latin cross with a nave divided into four sections, and a sanctuary with three square apses. Its presbytery had a central square topped by a pentagon. (See also ) In 1191, the king confirmed the monastery and its surrounding fields as belonging to the Cistercian Order. The aged abbot of Santa María de Huerta, bishop Martín de Finojosa (later canonized), consecrated the church in September 1213 and died days later.

Sitting on the top of each end of the gateway are stone carvings of urns with flames rising from them. Centrally located on the architrave on four steps is a carved globe with a copper Latin cross surmounting it. Shorter porphyry walls flank the gateway. Adjacent to the north of the gateway, is a gatekeepers' lodge whose Ann Street facade is a continuation of the school's retaining wall, the lodge being slightly taller than the adjacent wall.

The interior layout is that of a Latin cross, with a notable octagonal cupola at the intersection. The chancel holds three very large Churrigueresque altarpieces, all covered in gold leaf, with the one in the center dedicated to Saint Cajetan. The church still has some of the original furnishings such as the pulpit and the organ. The baptismal font dates from the 19th century and is of a different style from the rest of the building.

Its walls are painted white, and the great apse has a large Latin cross. The modern church now stands on a mound which was established by the Order of the Sisters of St. Joseph of the Apparition. In 2018, since the dedication of the statue of the Lady of La Vang in the garden, this church has been the meeting place of the Vietnamese pilgrims. On site activities besides religious services are held as ″Abu Ghosh music festival″.

The Denton Schoolhouse is a historic school located at Denton, Caroline County, Maryland, United States. It is a small building with a Latin cross plan and several features of the Gothic Revival style, built about 1883. On the roof ridge is an octagonal cupola with a belfry of alternating louvered and plain drop-arched panels, with a cut wooden spire on top. The Denton Schoolhouse was listed on the National Register of Historic Places in 1978.

Church with the cemetery In 1452, the Duke Borso d'Este sponsored the construction of a charterhouse () in Ferrara. As was the usual Carthusian practice, it was built outside the existing city walls, but ten years later new walls, the Addizione Erculea, brought it back within the city. The present church, dedicated to Saint Christopher (San Cristoforo), was built in 1498, next to the original monastic church. The layout is that of a Latin cross with six lateral chapels.

In 1670, the town was renamed Nowa Jerozolima, granted city rights and construction work kicked off. The urban design was based on medieval maps of Jerusalem, and the street grid formed a Latin cross. The bishop invited Dominican, Bernardine and Piarist orders to settle in the town, which soon became dotted with monasteries, churches, chapels and passion paths (such as stations of the Cross). The town was supposed to be a purely Christian one and Jews were not allowed to settle there.

The Baroque building is constructed in the form of a Latin cross with a nave covered by a barrel-vaulted ceiling decorated with painted lunettes. The dome above the transept is supported by pendentives. The church's artwork includes a figure of Christ the Saviour (Santo Cristo de la Salud) from 1590 carved by an anonymous author. It was brought from the former convent church of the Order of the Trinity (Orden Trinitaria) which used to be located in the Vía Crucis.

Salazar v. Buono, 559 U.S. 700 (2010), was a decision by the Supreme Court of the United States regarding the establishment clause of the First Amendment to the United States Constitution. The case concerned the legality of the Mojave Memorial Cross, a Latin cross which was placed atop a prominent rock outcropping, by the VFW foundation, in 1934 to honor war dead. The location is known as "Sunrise Rock" in the Mojave National Preserve in San Bernardino County in southeastern California.

The building is in Romanesque Revival architecture style. In the main facade is placed an artistic canopy and a porch and a small "portico" with four columns. On the left side there is the civic tower town which functions also as a bell tower of the church. In its interior, with a Latin cross plan, there is a nave and two aisles on which there are two apses, respectively, to St. Nicholas, the patron saint of Palmi, and to the Sacred Heart.

The church structure follows the Baroque architectural style, utilizing adobe blocks in its wall surface finish to give an impression of massiveness. Its floor plan formed the shape of a Latin cross oriented in north-south direction, with the main entrance facing north. The church facade is divided into three levels by heavily molded string courses. The topmost level or the pediment is adorned with Vitruvian-scroll design on its raking cornice, and a central niche flanked with octagonal windows.

The church, built in the 12th-14th centuries in a transitional style between the Romanesque and the Gothic, has a Latin cross plan with a single nave including four aisles, and a transept. The latter is longer but narrower than the nave, to which it is connected by a rectangular shape surmounted by an octagonal dome, supported by 13th century squinches. The transept's arm end with square apse chapels. The nave is covered by cross vaults, while the transept has barrel vaults.

The map of the inside is a Latin cross with three naves long about 26 feet. His aspect is sumptuously baroque due to restoration work following the earthquake in the 1703 which demolished the central nave, the cupola and the tambour. Today the central nave has an exquisite wooden lacunar ceiling carving, painting and gilding by Ferdinando Mosca da Pescocostanzo (1723-1727]), who also made the magnificent pipe organ. The ceiling was later painted by Girolamo Cenatiempo, pupil of Luca Giordano.

The plan of the church is in the form of a Latin cross with a single nave, lateral chapels and a dome above the intersection of the nave and the transept. The absence of detailed planning from the start can be seen in the way chapels of various sizes have been developed without any consistency. The nave is covered by a large vault while the chapels have vaults of various sizes. The square-shaped apse houses an eighteenth-century marble altar.

The church is said to host the altar upon which St Peter preached while in Naples, and here he baptized the first Neapolitan converts to Christianity, Saint Candida and Saint Aspreno. In the 16th century, this church was granted by popes the status of celebrating ceremonial Jubilees for the remission of sins. The layout of the church is that of a Latin-Cross. The present structure, built between 1650 and 1690, owes its design to Pietro De Marino and Giovanni Mozzetta.

St. Catherine of Siena Roman Catholic Rectory The St. Catherine of Siena Parish complex consists of four buildings: the parish school (1913), convent (1926), rectory (1926), and the church itself (1929).Saint Catherine of Siena Roman Catholic Parish Complex from the state of Michigan All buildings are basically Romanesque in style, with some Byzantine elements. The church is the most visually catching structure. It is built in the form of a Latin cross, of mixed red and brown tapestry brick.

The building takes the shape of a Latin cross with a length of 75 metres and a width of 17.45 metres. The length of the transept is 40 metres, the arms of the transept 7 metres and the height of the internal vaulting 18 metres. The vaulted nave has seven crossings, and the sides comprise three levels starting with grand arcades, then a triforium and finally high windows. Such an elevation is very much a gothic convention mostly inspired by Chartres.

The interior is on the Latin cross plan, with a nave and two aisles with cross- vault, divided by small cotto pilasters on the sides; the apse is flat. A fifth bay forms the presbytery, while the transept arms are two rectangular bays, with a crossing dome. The last bays of the nave have square pilasters, supporting the choir. The rich Baroque frescoes in Chiaravalle are a striking exception to the Cistercian preference for few, if no decorations in their buildings.

Facade of the cathedral The cathedral was originally built on the site of a 16th-century Franciscan monastery. Later, it was rebuilt in 1664 as the Parish of San Antonio de Padua. The complex also housed the first European-style school for natives in Mesoamerica, and the Latin alphabet can be seen on some of its columns. Fragments of the portal, the Latin cross layout of the temple and the open chapel are all that is left of the original 16th century monastery.

The church of the Monastery has a majestic, austere façade that follows the later Renaissance style known as Mannerism. The façade, attributed to Baltazar Álvares, has several niches with statues of saints and is flanked by two towers (a model that would become widespread in Portugal). The lower part of the façade has three arches that lead to the galilee (entrance hall). The floorplan of the church reveals a Latin cross building with a one-aisled nave with lateral chapels.

Royal Chapel of Granada, 2012 The interior of the chapel follows the same model as the Monastery of San Juan de los Reyes in Toledo. It has four side chapels, creating the form of a Latin cross and a nave with a Gothic ribbed vault. The choir has a centered arch down to its base, and a crypt. The passage to the presbytery creates a luminous effect to symbolize the sun and the light of justice (in an Albertian, Neo-Platonic sense).

Main facade and portals Construction of the structure began in 1258, and the church was consecrated in 1371. The church has a Latin cross layout with three naves, divided by hexagonal pilasters. The tall hexagonal bell-tower near the apse was completed in the 15th-century, and the copper-sheathed cupola (1548) and ribbed ceilings were not completed until the 16th century. The main facade is in a narrow alley, and has three portals, each with a peaked tympanum and thin elaborate pilasters.

As with many churches in southern France, its plan is the form of a Latin cross. The nave dates from the 13th century. Interesting architectural features include the Romanesque apse which is extended by a Gothic frame along a single nave. Replacing an old wooden bell tower, the current tower was built in 1835 at the behest of Bishop Lévézou de Vezins and has the peculiarity of being composed of three Gothic styles, curiously presented in reverse chronological order, ascending.

The dome roof of the lantern is clad with copper tiles and surmounted by a Latin cross. The faces of the tower feature double round arched openings separated by twisted columns on the first floor and thin slit windows on the floor above. A repeated arched moulding forms a cornice mould around the top of the second floor of the tower The principal entrance to the tower is from the western face. There is a double timber door, flanked by twisted columns.

The cathedral is built of brick with sandstone accents in a modern gothic style. The floor plan is a St. Anthony's Cross (T or Tau-shaped) rather than the usual Latin cross that forms most Western Christian churches. A statue of the Virgin Mary with Child in stone, by the Calgary sculptor Luke Lindoe occupies a niche above the main entrance. Senator Pat Burns donated four bells in to the church in 1904 that were cast by the Paccard Foundry in Annecy, France.

The church was built and dedicated to the Virgin Mary, in gratitude for the ebbing of a plague of cholera in 1835. The design was by Gaetano Gherardi and construction began in 1836. The sober stone facade has flanking pilasters, and sports a clock in the tympanum (architecture) originating from the Cathedral. The interior has a Latin cross layout with seven arches flanking the nave, and bears a resemblance to the interior of the church of Santo Spirito in Florence.

In Macedonia, a cairn was used in place of a cross to reflect the local custom. In the several Commonwealth cemeteries in the mountains of Italy, Blomfield's design was replaced with a Latin cross made of rough square blocks of red or white stone. It is unclear how much it cost to manufacture a Cross of Sacrifice. Generally speaking, however, the cost of building a cemetery was borne by each Commonwealth nation in proportion to number of their war dead in that cemetery.

Harald Bluetooth is also mentioned in the inscription on the Curmsun Disc, dated AD 960s–980s. On the reverse of the disc there is an octagonal ridge, which runs around the edge of the object. In the center of the octagonal ridge there is a Latin cross which may indicate that Harald Bluetooth was Christian. The first Danish king to convert to Christianity was Harald Klak, who had himself baptised during his exile in order to receive the support of Louis the Pious.

The Stone of Remembrance, a feature of larger cemeteries Typically, cemeteries of more than 40 graves contain a Cross of Sacrifice designed by architect Reginald Blomfield. This cross was designed to imitate medieval crosses found in churchyards in England with proportions more commonly seen in the Celtic cross. The cross is normally a freestanding four-point limestone Latin cross, mounted on an octagonal base, and ranging in height from . A bronze longsword, blade down, is embedded on the face of the cross.

The lateral naves also have a dropped ceiling to hide the structure, on which hang two glass lamps. The transept, or transverse nave, projects a bit to the sides though not so much as to form the shape of a Latin cross. It opens in the east–west direction, and has the same width and height of the central nave. The transept comes before the main area of the church, which is highlighted by a marble railing and three tall steps.

It has the longitudinal Latin Cross plan of a medieval cathedral. It is of storeys and has classical porticos at the west and transept ends, influenced by Inigo Jones’s addition to Old St Paul's. It is roofed at the crossing by a wide shallow dome supporting a drum with a second cupola, from which rises a spire of seven diminishing stages. Vaughan Hart has suggested that influence in the design of the spire may have been drawn from the oriental pagoda.

It is now a private house. The chapel differs from others belonging to the abbey in having a more complex architecture and a plan in the form of a Latin cross. ;Chapel of Saint Joseph des Champs The Chapel of Saint Joseph des Champs is southwest of the town on the south side of the D976 to Tavel. Roman shards have been uncovered nearby suggesting that the chapel may have been built on the site of an earlier Roman building.

300px The New Zealand Civil Air Ensign is the flag that represents civil aviation in New Zealand. The ensign consists of a dark blue Latin cross edged with white on a light blue field. A Union Jack is placed in the first quarter and the Southern Cross, as seen from New Zealand, are shown in red in the lower half of the fly. The ensign is based on the British Civil Air Ensign and the national flag of New Zealand.

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.

It is 87 metres long, from 36 to 56 metres wide, and 75 metres high into the top of the cupola. It has a Latin Cross floor plan with a central nave and two side aisles, separated by pillars, and a Renaissance transept, with an imposing cupola over the crossing. The apses and the choir are of the 16th century. The interior has some important tapestries, and others of the 16th and 17th centuries, made in Ferrara, Florence and Antwerp.

The plan was similar to the others Romanesque churches of the pilgrimages, with a Latin Cross, having a nave with aisles and an ambulatory allowing pilgrims, to pray to the saints of their choice in the apsidal chapel without disturbing high altar. The architect Anatole de Baudot carried out restoration work. The church has a nave of four spans. The choir, the southern arm of the transept and much of the nave date back to the original Romanesque phase of the building.

In 1783 the main altar was remodeled by Giacomo Mazzotti, the floor dates to 1697. The church has a Latin cross plan with seven chapels on each side and a deep rectangular apse. The nave frescoes and canvases were painted by Francesco de Mura, while the lateral chapels include works of the painter Marco Pino and the neapolitan sculptor Giovanni da Nola. Of note, is the funerary monument of Camillo de' Medici, completed by Girolamo D'Auria at the end of the 16th century.

The motte and bailey castle was constructed in the 12th century AD by Raymond FitzGerald (Raymond le Gros), one of the commanders of the Norman invasion of Ireland. The land of Forth O'Nolan was granted to Raymond and he married Basilia, sister of Strongbow. They lived together at Castlemore. All that remains is the motte, an artificial hill about high, and a standing stone measuring with a Latin cross inscribed in it, with a suppedaneum (foot-rest at the base).

Internally, the building is in the shape of a Latin Cross, with central nave and an aisle on either side, divided by arcades of seven semi-circular Romanesque arches resting on columns with simplified Corinthianesque capitals. The chancel is a simple rectangle with a single arched window at the terminal end. The roofs throughout are of quadripartite vaults which date from the mid 14th century. Although Gothic by date and decoration, the profiles of the ribs are semi-circular in the Romanesque manner.

The collegiata of San Lorenzo e Biagio was completed in 1859 using designs by Giuseppe Valadier. It was erected outside the city walls, and the road in front of the façade is flanked at the end by two large terracotta lions, in active poses, sculpted by Luigi Fontana. The church, made with brick, has a sober pronaos with Tuscan columns supporting a triangular tympanum. The layout is that of a Latin cross, with the nave separated from the aisles by Ionic columns.

The structure is of a pillared basilica of three aisles and a transept on a Latin cross ground plan. The vaults in the nave and the choir are secured by open buttresses. The resemblance to the church of Otterberg Abbey, which was built earlier, is unmistakable, although the church at Otterberg is larger. The conventual buildings and the cloisters have disappeared, and of the church there now remain only the choir, the transept and the first bay of the nave.

Side of the building, 2015 Corpus Christi Church is a brick building situated on the crest of a hill, in Bage Street, Nundah, with expansive views to the north and east. The design of the church was influenced by the Romanesque Revival style, in its massing and detailing. Several large trees and established gardens surround the building. Corpus Christi Church is a symmetrically composed, polychrome brick building, with traditional Latin Cross plan and a polygonal chancel extending from the western end.

The church, in the Baroque style, was founded on April 15, 1602, based on an initiative of Ana Félix de Guzmán (1560-1612) Marquise of Camarasa. Placed under the patronage of Saint Ignatius confessor of Loyola, its plant was a Latin cross, with a transept of good size. The exterior of the main facade consisted of a central body flanked by two towers. On the central body was placed a shield with the Royal arms carved by Felipe de Castro.

Paraninfo of the Complutense University of Madrid, work by Narciso Pascual y Colomer. Little of the Novitiate House remains. The perimeter walls of the Church survive, used for building the paraninfo of the university, although its original plan in a Latin cross was transformed into a huge ellipse, similar to it of the Spanish Senate. Of the rest of the complex are preserved the spaces of the two ancient cloisters, converted into courtyards, around which the various offices and classrooms are distributed.

The church of San Caio was located in the Monti rione of the city, along the ancient Via Pia (now enlarged, and called Via XX Settembre), in the vicinity of Porta Pia. There had been a convent of Barberine nuns (Carmelites of the Incarnation) connected to the church. After a 1630 reconstruction, the church's facade was characterized by two orders of columns, in back of which there was a campanile. The interior was laid out on the pattern of a Latin cross.

Patriarchal cross The Patriarchal cross is a variant of the Christian cross, the religious symbol of Christianity, and also known as the Cross of Lorraine. Similar to the familiar Latin cross, the patriarchal cross possesses a smaller crossbar placed above the main one so that both crossbars are near the top. Sometimes the patriarchal cross has a short, slanted crosspiece near its foot (Russian Orthodox cross). This slanted, lower crosspiece often appears in Byzantine Greek and Eastern European iconography, as well as in other Eastern Orthodox churches.

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.

South facade Interior The baroque pulpit and altar of St. Michael's Church Aerial photo from about 1920 Offering 2,500 seats, the Michel is the largest church in Hamburg. The church has a Latin cross plan with 44 m width, 52 m length and 27 m height. The clock tower is a significant feature of the city skyline and was a navigation aid for ships sailing on the river Elbe. The clock features an observation level which allows a panoramic view of the city and harbour.

Olsen used the same plan when he converted Ringebu Stave Church into a cruciform church in 1630–1631. There the old stave church became the basis for the layout of the Latin cross. The technique is a paneled timbering, in which the timbering is marked by extensive use of slanted rails at a 45° angle up and down at the timber posts. The stave church has an elevated central area, and the basilica- like form was also continued in the timbering in the extension.

Cloister of the Santa Cova de Montserrat A chapel was built at the cave between 1696 and 1705, thanks again to the patronage of Gertrudis de Camporrell. Of note is the chapel's vertical orientation atop a steep slope, which serves to emphasize its precipitous location. The chapel is located just beneath the grotto where the original icon was found, and it was built in the form of a Latin cross. At the crossing is a small dome with a lantern to let in light.

In post- Gothic styles, Spanish cathedrals departed from the usual Latin-cross shape and developed more open designs (such as in the neo-classical cathedral of Cádiz). A handful of Spanish cathedrals contain touches of modern architecture. The Almudena Cathedral in Madrid was not finished until 1993, and the completed church is decorated with much more modern designs than other cathedrals in the country. The construction was typically financed with the diocese mains, with royal or episcopal contributions, or with donations from the faithful.

Valadier's Neocassical interior is on a Latin cross groundplan and has a central nave between two side aisles, under a barrel vaulted roof. The crossing of the transept supports an impressive coffered cupola. As to works of art, the cathedral contains two canvases by Federigo Barocci, a Saint Sebastian in the north aisle, and a Last Supper in the Chapel of the Holy Sacrament. There is also an Assumption of the Virgin (circa 1707) by Carlo Maratta, and a Nativity (1708) by Carlo Cignani.

The cathedral is a Latin cross building with three aisles, a transept and a main chapel surrounded by an ambulatory. The church is connected with a cloister on the Eastern side. The main façade of the cathedral looks like a fortress, with two towers flanking the entrance and crenellations over the walls. This menacing appearance, also seen in other Portuguese cathedrals of the time, is a relic from the Reconquista period, when the cathedral could be used as a base to attack the enemy during a siege.

The curvilinear frontispiece of the church, includes sculpted stone, crowned by a Latin cross surmounting an acroterion and small urns, over parallel plinths above the corners. This facade is broken by main portico, surmounted by friezes and flanked by rounded elements with three windows. The bell-tower has two registers, the first with portico surmounted by frieze and cornice, over a square window with decorative elements. The second register has two belfries with rounded openings and pillars, terminated by cornice, balustrades and acroterions on the corners.

In honor of Hahót, a wooden sculpture was erected in 2009 at Hahót, Zala County, which village was founded by his clan. The lifesize statue depicts the noble, with one hand holding a sword and a Latin cross in the other, referring to his secular and ecclesiastical careers. László Vigh, a member of the Hungarian National Assembly, gave a speech during consecration, where he said the youth should follow persons who lived out their lives with God's love and honest work, instead of false role models.

Several buildings used by the clerics of the chapel were arranged in the shape of a latin cross: a curia in the East, offices in the North and South, and a projecting part (WestbauA porch surrounded with two stair towers, la forerunner of Westworks) and an atrium with exedrae in the West. But the center piece was the chapel, covered with a 16,54 meters wide and 31 meters high octagonal cupola.Collectif, Le grand atlas de l’architecture mondiale, Encyclopædia Universalis, 1982, , p. 1888J. Favier, Charlemagne, 1999, p.

An example of the pre- Churrigueresque Baroque style, the floor plan of the Iglesia de San Francisco de Paula is typologically similar to the Iglesia de San Francisco de Asís as both ground plans are based on a Latin cross. The façade has a central arched doorway and columns at the sides, typical of Spanish churches. There is a belfry in the front, but the 3 bells were never be recovered after the hurricane of 1730. The Office of the City Historian restored the stained glass windows.

The parish church, situated at the centre of the village, is dedicated to Saint Eusebio, Vercelli's bishop in the 4th century, and the Maccabees. It was extended during the 17th century. On the porch is a large mural representing the Virgin of Mercy. The plan is on a Latin cross with three chapels; the first contains the baptismal font; the second, located behind the pulpit, has an altar dedicated to the Lady of the Rosary, with statues of Saint Sebastian and Saint Roch at each side.

Its size is 102 meters long and 40 meters wide. The façade is characterized by two large towers (one partially destroyed by a lightning in 1807) and a portal with Romanesque bronze doors decorated by Bonanno Pisano. The interior is on the Latin cross plan, divided by ogival arcades, and features fresco cycles executed during the reigns of William II and Tancred of Sicily (c. 1194). The cloister has 228 small columns, each with different decorations influenced by Provençal, Burgundian, Arab and Salerno medieval art.

It has a Latin cross layout and a vaulted ceiling. The interior has been restored and contain a Churrigueresque cupola, along with 18th-century paintings such as depictions of Christ by Diego de Borgraf. The various barrios or traditional urban neighborhoods and communities of the municipality have their own parish church dedicated to a patron saint, and some have more than this. The oldest of these churches dates from the 16th century and a number are painted in what is called "popular Baroque" with bright colors.

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.

In Monumenta Germaniae Historica II, cols. 821–847, translated in M.R. James, The Apocryphal New Testament (Oxford) reprinted 1963:369. When the Roman Proconsul Aegeas—depicted lower right—ordered him taken down, his men were struck by a miraculous paralysis, in answer to the saint's prayer that he be allowed to undergo martyrdom. From the 17th century Saint Andrew was shown on a diagonal cross, but Caravaggio would have been influenced by the 16th century belief that he was crucified on a normal Latin cross....

The Christian Flag is an ecumenical flag designed in the early 20th century to represent all of Christianity and Christendom. Since its adoption by the United States Federal Council of Churches in 1942, it has been used by many Christian traditions, including the Anglican, Baptist, Lutheran, Mennonite, Methodist, Moravian, Presbyterian, Quaker, and Reformed, among others. Africa and the Americas are regions of the world where the flag remains popular. The flag has a white field, with a red Latin cross inside a blue canton.

The church founded by the Szyszkowskis was destroyed and in its place, in 1749, was built a new wooden baroque church based on the layout of the Latin cross. Before the Second World War, the parish priest built the grotto of the Blessed Virgin Mary of Lourdes and organized the construction of the Catholic House (Polish: Dom Katolicki) in 1937. The Nazis closed the church in 1941 and stole the liturgical vessels and accessories. The restoration of the church took place in 1982–1985.

Choir showing the Triumph of the Church by Antonio Palomino Construction of the church commenced under the architect Juan de Álava in 1524, followed by Brother Martin de Santiago, who was succeeded by Rodrigo Gil de Hontañón. It was consecrated in 1610. It has a Latin cross plan with a single nave, with the choir above a segmented arch at the foot of the church. The styles present are late Gothic in the lower parts of the building to the Renaissance in the dome and presbytery.

The additions to the nave gave the cathedral the shape of a Latin cross. It continued the era of Gothic Revival architecture in the construction of nineteenth-century Anglican churches in Newfoundland. The cathedral after the Great Fire of 1892. The building was not completely restored until 1905. On July 8, 1892, the Cathedral was extensively damaged in the Great Fire of 1892. The roof timbers ignited, which caused the roof to collapse, bringing the clerestory walls and piers in the nave down with it.

Built high up on a hill, the Baroque-style Church of the Discovery of the Holy Cross is the centre of the Vilnius Calvary ensemble both physically and conceptually. The three stations that commemorate Christ's crucifixion, death and removal from the Cross, are part of the church building. Stations number 31 and 33 are on the outside walls near the transept, while station 32, the Crucifixion, is the main altar inside the church. Architecturally, the church is a vaulted basilica of Latin- cross shape.

Central flag pole around which the 4 grave plots are arranged The cemetery was designed by New York architect Egerton Swartwout (1870–1943) and British architect Harry Bulkeley Creswell (1869–1960). Swartwout designed the Missouri State Capitol in Jefferson City (1917) and Brooklyn's Grand Army Plaza Bailey Fountain (1929). For Brookwood, he laid out the cemetery into four plots for the 468 headstones, grouped around a flagpole. The headstones are of Italian Carrara marble, in the shape of the Latin cross or a Star of David.

The shape of the cathedral is a Latin cross and contains five naves. The main altar is octagonal, with four others oriented to the cardinal directions The complex consists of fourteen chapels in various styles with numerous artistic works such as the main cupola and the main altar, both decorated by Cristóbal de Villalpando. The façade is classified as late Baroque in transition to Neoclassical, with Doric and Corinthian columns. Its bell towers stand at just under 70 meters high, the tallest in Mexico.

The historic Gothic Revival third church is located at 35 Edward Street. The church is laid out in a Latin-cross floor plan and features a 245 ft octagonal Medina sandstone steeple with a Seth Thomas clock. Above the steeple rests a 72 ft pierced spire; reputed to be the tallest open-work spire ever built completely of stone (without reinforcement) in USA. St. Louis Roman Catholic Church from Air Inside the church is a 1903 Kimball Organ, which is located in the choir loft.

The churches of the monasteries have some features that differentiate them from those of secular clergy, especially in regard to the chorus, vestries and penitential cells. In all other respects, they follow the same rules and practice space is dedicated to the liturgy, with the center of spiritual life and religious communities. Churches are always oriented to the east, like other Christian churches (except in cases where the place names force a placement). Its plan is a Latin cross transept and apse or apses.

The building has one nave, with a layout of a Latin cross. The nave is covered in vaults of several different types with some containing images of cherubs done in relief. The cupola has eight sides and a raised area with windows (linternilla). The main nave contains the painting Virgin of Guadalupe before the Holy Trinity from the 18th century, and three works from the 19th century called The Baptism of Jesus, The Divine Providence, and The Virgin at the Foot of the Cross.

Third, St. Paul's also demonstrates the part that agriculture, particularly of tobacco, played in the 18th century history of the Church of England in Maryland. The building is a brick structure laid up in Flemish bond with a pattern of glazed headers where the brickwork has not been altered. The plan is a Latin cross, with a nave two bays long and transept arms one bay long; the present apse is an alteration. It was listed on the National Register of Historic Places in 1977.

On the left arm of a Latin cross are two other chapels that of the St. Sacramento containing the statue of the Sacred Heart and the other of St. Joseph. The presbytery has a high altar with ciborium, set on a marble base with three steps, surmounted by a canopy supported by four red marble columns with Corinthian capitals, octagonal pyramid in two sections held up a total of 48 columns of the same marble, very similar to that in the Basilica of San Nicola di Bari.

The Chaplain Corps was established and conferred relative rank in 1863. Chaplains had been appointed to the Navy since at least 1799. The staff corps insignia has evolved to include, as of 2019, four faith symbols: the Christian (Latin) cross, the Jewish Star of David and tablets, the Muslim crescent moon, and the Buddhist wheel of law. The Civil Engineer Corps came into existence and was conferred relative rank in 1881, despite the fact that civil engineers had been employed by the Navy at least since 1827.

The apex of the gable, which has a moulded coping stepped at the gable corners, is surmounted by a carved sandstone Latin cross. The western end of this southern facade, is similar, but considerably less decorative than the eastern, chapel, wing. A centrally located bay window, with similar parapet detailing to that on the projecting section of the eastern wing, is found on the first floor. This bay window is rectangular in plan, with three glazed openings, a wider central four panel sash, flanked by sidelights.

Her mausoleum in Turin. As the Savoy family refused to allow her to be buried next to her husband in the Pantheon, her children had a mausoleum built for her in a similar form (if on a smaller scale) in Turin, next to the road to the Castello di Mirafiori. The circular, copper-domed, neoclassical monument, surmounted by a latin cross and surrounded by a large park, was designed by Angelo Dimezzi and completed in 1888.‘Mausoleo della Bela Rosin’, Piemontefeel (Regione Piemonte, 2005).

This facade is terminated with cornices and surmounted by a latin cross over a cylindrical stand. The entrance is marked by a doorway decorated with cornices and rectangular window protected by wood grade, while the rear is blind. The interior walls are plastered and painted in white, while the floors and ceiling are built in wood. The lateral door is flanked by a hemispherical baptismal pia and wardrobe, while at the top of the nave (behind the pulpit) is the door to the sacristy.

The single nave in the shape of Latin cross is covered with a wooden painted ceiling. There is a painting on canvas at the entrance of the nave on the left, illustrating the legend of the appearance of Our Lady of Nazareth to D. Fuas Roupinho. The high altar is made of gold-toned altarpiece with marbled and Solomonic columns of the late 17th century. There is a small window on the Throne illustrating image of Nursing Madonna with the Child on her lap.

The church was built by the Pisans in their stronghold overlooking the city, Castel di Castro. It has a square plan, with a nave and two aisles, the latter having cross vaults, while the nave had a wooden ceiling. In 1258, after the Pisans had destroyed the capital of the Giudicato of Cagliari, Santa Igia, and its cathedral, it became the seat of the diocese of Cagliari. In the 14th century the transept was built, giving the cathedral a Latin cross groundplan, and the two side entrances.

It underwent a refurbishment, and parts of the inner structure were modified, though it retained its apse and other isolated elements such as its original door. The church was built with a Latin cross layout, the vaults over the apse and crossing of its two arms are of special interest. The bases of the arches of the second of these vaults contain sculptures of the evangelists. The capitals of the church are decorated with plant and animal motifs, as well as war scenes between landers and centaurs.

The church is in the form of a Latin cross and has an entrance flanked by Roman style pilasters. Across from the main facade are the principal markets, called Hidalgo and Juarez. On the atrium wall is a sculpted mural by Teodoro Cano Garcia which depicts the evolution of Totonac culture superimposed on the body of the god Quetzalcoatl. Evolution of the Totonac culture by Teodoro Cano Garcia The city has a total of eleven murals on public buildings as well as private houses.

Front entrance, 2016 The church's western spire makes it a landmark within the city's townscape and the most dominant element of its immediate streetscape. The spire's presence is further accented by it being painted cream, while the remainder of the structure, including the sympathetic addition of a sessions house at the eastern end, is dark brick. The building has a Latin cross plan, and a corrugated iron roof, with ventilation to its ridges. Its detailing, in keeping with the tall spire, is derived from the Gothic style.

Runcorn War Memorial was built to commemorate the servicemen of Runcorn lost in active service in the First World War. It was unveiled in 1920, and the names of those lost in the Second World War and subsequently were added later. The memorial stands in a small garden by a road junction in Runcorn, Cheshire, England, and consists of a Latin cross in white granite on a plinth and steps. Behind the cross is a wall containing plaques with inscriptions and the names of those who died.

The exterior, unlike earlier pagan temples, was not lavishly decorated. The church was capable of housing from 3,000 to 4,000 worshipers at one time. It consisted of five aisles, a wide central nave and two smaller aisles to each side, which were each divided by 21 marble columns, taken from earlier pagan buildings. It was over long, built in the shape of a Latin cross, and had a gabled roof which was timbered on the interior and which stood at over at the center.

Architecture critic Chris Wilson described the building as "the last, great adobe mission". The facade is asymmetrical, with two battered towers of different heights separated by a recessed balcony above the main entrance. Inside, the church follows a traditional Latin cross plan with an aisleless nave, transept, and polygonal apse. The ceiling is supported on massive, corbeled vigas in the traditional manner, and there is a clerestory above the altar to illuminate the Reredos of Our Lady of Light which is installed at the west end.

Royal Monastery of Santa María de Sigena () is a convent in Villanueva de Sigena, region of Aragon, Spain. Built between 1183 and 1208, the Romanesque church was founded by Queen Sancha of Castile, wife of Alfonso II of Aragon. The General Archive of the Crown of Aragon, the official repository of royal documentation of the Crown since the reign of Alfonso II (12th century), was located in this monastery until the year 1301. The convent church is based on the shape of the Latin cross.

The abbey has a consecrated church, a 16th-century cloister, the tower, the main body of the building and a beautiful garden. The abbey was rebuilt for the first time in the 16th century, with more work in the apse, while during the 17th century were changed from the high altar and the choir. In the 18th century were added more decorations in marble and complete painting of the walls. The church has a Latin cross plan, made by striking apse angle that simulates the bowed head of Christ.

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.

Older elements include the Latin cross floor plan with three naves and an octagonal cupola. The recessed facade is covered in tezontle with fillets of cantera (a grey-white stone). Above the main portal there is a relief done in cantera which depicts the apparition of a cross-bearing Christ to Saint Ignatius of Loyola, flanked by statues of Saint Gertrude and Saint Barbara. Between this and the main doors is an ogee arch supported by two columns which are simple Classic on the first level but show elaborate vegetative decoration on the second level.

By climbing 156 steps to the summit of the principal tower, one gains a panoramic view of the city and surrounding countryside. The building's general plan is that of a streamlined Latin cross, with slight gabled projections near the rear forming the crosspieces. Three entrances pierce the facade, while lancet windows of similar height are placed at varying locations in the towers, and two-story windows fill the side bays. Widest and tallest are the windows placed in the rear-side projections and above the entrances on the facade.

Construction began at the end of the 13th century, under the architect Sozzo Rustichini of Siena. Erected over the earlier church of Santa Maria Assunta, it was not finished until the 15th century (mainly because of the continuing struggles against Siena). The façade of alternate layers of white and black marble is Romanesque in style, but is almost entirely the result of restorations in the 16th century and in 1816–1855; it retains decorative parts of the original buildings, including the symbols of the Evangelists. The groundplan is a Latin cross, with transept and apse.

The cathedral measures by and is built on the ground plan of a Latin cross. The façade reveals the different influences which inspired the anonymous architect: the blind arcades in the lower part, decorated with circular openings and lozenges, the loggiato in the middle part and the surmounting tympanum are in Pisan Romanesque style. The large ogival mullioned window and the three spires show instead a Sienese influence. The central portal flanked by two lion columns has five panels dating from the early 13th century illustrating the legend of Saint Cerbonius.

Apse behind altar with Death of St Nicholas by Paolo De Matteis The layout is a Latin cross, with three aisles, and side chapels. The nave has a series of frescoes (1696) by Francesco Solimena, depicting in the lunettes the life of St. Nicholas, Virtue and the Apostles. He also painted a Sermon of St. Paul and St. John the Baptist (1697). Paolo De Matteis painted a San Nicola expels Demons from a Tree (1712), which adorns the entrance of the church, and Death of St. Nicholas (1707), which sits behind the altar.

This is in the form of a polygonal shaft with eight trefoil-arched openings, containing louvred vents, surmounted by a tapering conical spire, clad partly with rounded slate, and partly with flat sheet zinc. The flêche is further embellished with a row of projecting decorative elements at the base of the spire, and a Latin cross, once gilded, at the apex. The Fitzgerald Tower, as it was named in the 1890s, remains incomplete. It was originally to be 162 feet (about fifty metres) tall, to the tip of the spire.

The tower and dome Notre-Dame was built to a new design inspired by both Classical and Renaissance styles, and bears many similarities to St Paul's Cathedral. The area beneath the dome was initially designed to form the complete church, but additional funding allowed the expansion to the nave and transept that form a Latin cross. This gives the finished building the unusual internal appearance of being formed by two distinct churches. The tall nave is dominated by its rows of slender Corinthian columns, with unusual features scattered throughout.

The church has an ornate, square stone portal with pilasters decorated with an intertwined geometric pattern, simple capitals, and a cornice and panels with floral designs. A keystone at center of the arch has an acanthus design at front and a square with a floral design below. The ornate, carved wood doors of the Parish Church of Saint Bartholomew were removed in the 19th century; they were replaced with green doors with a simple green tympanum in wood above. The floor plan is of a Latin cross with lateral arcades supporting tribunes.

The layout is that of a Latin cross with six chapels. Among the altarpieces is a Madonna and Child, described as the Madonna della Neve, attributed to Barbara Longhi, a work originally from the former chiesa della Madonna della Neve, of Cervia Vecchia. There is also a St Joseph and Child Jesus by a follower of Guercino. The main altar in polychrome marble is derived from the deconsecrated church of San Domenico in Forlì, has an altarpiece depicting the Madonna of the Assumption between Saints Nicola and Bartholomew, by Giovanni Barbiani.

The chapel is characterized by being of Latin cross plan with short sections and testeros. It is a dazzling example of the 17th century New Spanish Baroque style, and a stage for faith and fantasy, where each element has a precise meaning. In the vault the representations of the three theological virtues are immersed in the foliage: Faith, Hope and Charity. We find sixty angels placed around the circumference that forms the dome and the main vault, each in a different expression, some are only heads and/or others are full-body images.

The rectangular church comprises a nave and presbytery flanked by lateral corridors, with a sacristy to the left of the altar. The main facade faces west, defined by Tuscan pilasters crowned with pyramidal pinnacles over parallel-elliptical plinths. The central wall along the nave is decorated in blue and white azulejo tiles. This two-storey high facade and azulejo wall are broken by a frieze and cornices over finial cut-breaks, forming lateral volutes, which are topped by a vegetal-shaped frontispiece crowned by a rectangular Latin cross.

The building was listed at Grade II, the lowest of the three grades of listing, which is applied to buildings that are "of special interest, warranting every effort to preserve them". However the condition of the building deteriorated and because it was considered to be dangerous, it was demolished in 2009. In October 2016 Banks War Memorial was listed at Grade II. The memorial stands in the churchyard of St Stephen in the Banks, it is granite, and consists of a Latin cross with a square shaft, standing on a three-stepped inscribed plinth.

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.

The Abbaye Blanche ("White Abbey") was a nunnery founded in 1112 in Mortain, France. Abbaye Blanche Shortly after establishing an abbey for men called Holy Trinity of Savigny, Saint Vitalis, founder of the monastic order of Savigny, set up the Abbaye Blanche for women, with his sister Adelina as abbess. The nuns of the Abbaye Blanche wore habits of undyed wool and followed a very strict interpretation of the Rule of Saint Benedict. The church is built on a Latin cross floorplan of a central nave and a wide transept.

Grave of an unknown G.I. Most of the 6,012 soldiers and support personnel honorably interred at this site died fighting during the Second Battle of the Marne and the Oise-Aisne campaign. The site also includes American servicemen who were buried in temporary cemeteries and were moved to this site when their families requested that they be buried overseas. All forty-eight of the states that existed at the time, as well as the District of Columbia, are represented. Stars of David mark graves of Jewish soldiers, all others have a Latin Cross.

The German blazon reads: In Silber ein grüner Berg, darin ein silberenes Haus, darüber ein schwarzer, hersehender Hirschkopf mit rotem Kreuz. The municipality's arms might in English heraldic language be described thus: Argent in base a mount vert surmounted by a house of the field, above the mount a stag's head caboshed sable, between his attires a Latin cross gules. The stag's head and the cross are references to Saint Hubert, the parish's patron saint. The green mount in base is meant to represent the hill of Hilgerath, upon which the parish church stands.

Main nave The Cathedral of Buenos Aires is a Latin cross building with transept and three-aisles with side chapels connected by corridors. Originally the interior was only decorated with altarpieces, but at the end of the 19th century the walls and ceilings of the church were decorated with frescoes depicting biblical scenes painted the Italian Francesco Paolo Parisi. In 1907, the floor of the cathedral was covered with Venetian-style mosaics designed by the Italian Carlo Morra. Repair work for the entire floor was started in 2004 and completed in 2010.

The construction of Medieval European cathedrals was often based on geometries intended to make the viewer see the world through mathematics, and through this understanding, gain a better understanding of the divine. These churches frequently featured a Latin Cross floor-plan. At the beginning of the Renaissance in Europe, views shifted to favor simple and regular geometries. The circle in particular became a central and symbolic shape for the base of buildings, as it represented the perfection of nature and the centrality of man's place in the universe.

The coat of arms of Getafe is divided vertically into two equal halves that represent the two most important characteristics of the municipal district. The left half contains a heart in the center of a Latin cross, representing the Sacred Heart of Jesus—a reference to the Cerro de los Ángeles. The right half contains a repeated pattern of airplanes representing the aeronautical tradition of the area and referencing the nearby Air Force Base. The Royal Spanish Crown tops the coat of arms, and symbolizes Getafe's loyalty to the Spanish monarchy..

Construction on the Chiesa Madre (Mother Church), dedicated to the Madonna Assunta, began in the 18th century. It was built over a 15th-century structure made on the spot where an image of Our Lady of the Rosary was found. It has a large Baroque facade divided into two orders, characterized by an entrance above which is located a sculpture of the Assumption, and flanked by two smaller doors with refined decoration. The interior, with the shape of a Latin cross with three naves, is decorated with opulent gold-plated stucco.

The basilica is a former complex of Orthodox Church and Basilian Monastery. It was founded in the first half of the 13th century by Danylo Romanowych and served as an Orthodox Church and then as a Greek Catholic Church. The present church was founded in 1735-56 by the Greek Catholic Chełm bishop Philip Włodkowic and was built according to the plans of Paweł Fontana. It is a late baroque church built in the shape of a Latin cross, three-aisled basilica with a huge eight- part dome.

It is a late baroque church built in the shape of a Latin cross, three-ailed basilica with a huge eight-part dome. Modest interior decoration—the church was twice changed into Russian Orthodox Church (1875–1918 and 1940–1944). In front of the basilica there is a detached belfry from 1878 rebuilt and heightened in the interwar times. Next to the basilica there is a Basilian Monastery founded in 1640-49 by the bishop Metodiusz Terlecki and the bishop Jakub Susza—the principal of the first Chełm secondary school.

"Caritas," the Latin word for charity, is the mission toward which Cruz has directed his work, especially via his pastoral mission in the healthcare. Cruz's arms, which occupy the entire shield, are composed of a silver field on which is placed a red Latin cross superimposed by a blue M for Mary. The shield is completed by the external ornamentation of a Catholic bishop, a gold processional cross behind it and a green galero above it with a green cord and tassels hanging from the galero with six tassels flanking either side of the shield.

The Cathedral of Saint Mary of Burgos () is a Catholic church dedicated to the Virgin Mary located in the historical center of the Spanish city of Burgos. Its official name is Santa Iglesia Catedral Basílica Metropolitana de Santa María de Burgos. Its construction began in 1221, in the style of French Gothic architecture and is based on a Latin Cross. After a hiatus of almost 200 years, it went through major embellishments of great splendor in the 15th and 16th centuries: the spires of the main facade, the and dome of the transept.

Saint-Étienne Cathedral () is a Roman Catholic church dedicated to Saint Charles Borromeo, in Saint-Étienne, Loire, France. It has been the cathedral of the Diocese of Saint-Étienne since its creation on 26 December 1970. The building was constructed as an elaborate parish church between 1912 and 1923 in a primitive neo-Gothic style, on a Latin cross groundplan with transept and triple nave, and a belltower on the west front. The building is long, wide and from the centre of the roof vault to the ground.

At the beginning of the sixteenth century the church was enlarged in the direction of the architect Lorenzo da Bologna. The fifteenth-century church – a Latin cross with three apses divided by the choir and nave, three chapels communicating on the left side – was widely enlarged: it was built a large sanctuary that welcomed new large choir stalls. The fifteenth-century nave was flanked by two wide aisles with chapels. The church was now the subject of great works of tone evergetico that enriched the building especially in the sixteenth and seventeenth century.

The chapel comprises a single nave and rectangular presbytery aligned to the similarly rectangular sacristy (to its left). The principal facade is decorated with three pilasters, two with defined corners while the middle one divided into two registers, with cornice, fronted by a countercurved Latin cross over decorative figures. In the centre of this arrangement is a belfry composed of a Roman arch, flanked by pinnacles. The main rectangular door is surmounted by an ovular oculus, while on another register are circular oculi flanked by two clocks in stone.

A golden disc bearing the name of Harald Bluetooth and Jomsvikings stronghold seat Jomsborg was re-discovered in Sweden in autumn 2014. The disc, also called the Curmsun Disc, is made of high gold content and has a weight of 25.23 grams. On the obverse there is a Latin inscription and on the reverse there is a Latin cross with four dots surrounded by an octagonal ridge. The inscription reads: "+ARALD CVRMSVN+REX AD TANER+SCON+JVMN+CIV ALDIN+" and translates as "Harald Gormsson king of Danes, Scania, Jomsborg, diocese of Aldinburg".

The cathedral has the shape of a Latin cross, with an octagonal cupola. The Eclectic style, which was the mainstream at the time of its construction, is visible in its fine architectural lines and neoclassical facade, which includes a portal with columns crowned by a low triangular pediment and flanked by two towers. Each bell tower is crowned with a small elongated dome, crowned by a cross. It preserves among other treasures, an image of the Our Lady of the Rosary of more than 170 years of antiquity.

Liturgical direction rarely coincides with cardinal direction. Here, the apse is placed in the southern end of the church. The church has a twin-towered facade with There are four additional side entrances, that provides entry directly into the nave, each face the front: a single door next to each tower and a single door in the front walls of the transept. The cornerstone, located in the west corner of the facade, is inscribed with a carved line drawing of a heart below a Latin cross over the carved text '.

The flag and coat of arms of the Sovereign Military Order of Malta display a white cross on a red field (blazon gules a cross argent), ultimately derived from the design worn by the Knights Hospitaller during the Crusades. The flag represents the Sovereign Military Order of Malta as a sovereign institution. The state flag bears a Latin cross that extends to the edges of the flag. The Flag of the Order's Works represents its humanitarian and medical activities, and it bears a white Maltese cross on a red field.

New and old church buildings This single-storey timber-framed building is set on low timber and concrete stumps and clad in chamferboards. It has steeply pitched gable roofs sheeted with galvanised corrugated iron. The church is located in an established streetscape of mature trees, between two similarly scaled buildings, the Sunday School hall (1919) and the Youth Centre (1958). A traditional Latin cross plan, the church consists of a wide nave, two short transept wings, a chancel that contains the choir loft, a projecting organ bay and private rooms.

Peter W. Williams, Houses of God: Region, Religion, and Architecture in the United States, University of Illinois Press, USA, 2000, p. 125Murray Dempster, Byron D. Klaus, Douglas Petersen, The Globalization of Pentecostalism: A Religion Made to Travel, Wipf and Stock Publishers, USA, 2011, p. 210 The latin cross is one of the only spiritual symbols that can usually be seen on the building of an evangelical church and that identifies the place's belonging.Mark A. Lamport, Encyclopedia of Christianity in the Global South, Volume 2, Rowman & Littlefield, USA, 2018, p.

The congregation hired the prominent Des Moines architectural firm of Proudfoot & Bird to design the present church. Because the estimated cost of $175,000 was too high, some of the decorative details of the planned church were not executed. The Neoclassical-style building features a symmetrical plan in monumental proportions, a large pedimented portico supported by Ionic columns, plain exterior surfaces of Bedford stone, and a Roman glass and copper dome that is capped by a Latin cross. The building's proportions are said to match those of the Pantheon in Rome.

St. Rose's Church is a High Gothic Revival structure, three bays wide on the front and five bays long on the sides. Built in the shape of a Latin cross, the church is a single-story brick building; it rests on a foundation of blue Bedford limestone with a basement and is covered with a gabled roof of asphalt. Among its leading architectural elements is its octagonal steeple, topped with a louvered belfry. The two corners of the facade feature tall, thin windows and are topped with miniature square towers.

Church of San Miguel Arcángel, Guaro The parish church of San Miguel Arcángel is one of the most important monuments in Guaro. This temple is located in the center of the old town a few meters from the Town Hall and the San Isidro Labrador Fountain. It was built on an old mosque in 1505 and renovated up to two times. It has a Latin cross plan without the side naves, on the facade you will find the image of San Miguel and, on its right, the bell tower.

The church has a Latin cross design with eight chapels: #Chapel of Crocifisso #Chapel of San Filippo Neri: The altarpiece depicting the Ecstasy of St Phillip and vision of the Virgin and child (1853) was painted by Filippo Bigioli. #Chapel of Giovanni Battista de' Rossi: first dedicated to the Annunciation, and until recently, it housed the remains of this saint. It was frescoed by Giovanni Battista Ricci; The altarpieces by Antonio Bianchini depict Jesus and Saint and Phillip Neri crowns St Giovanni Battista de’Rossi. #Chapel of St Matthew: on right transept.

Changes were made in the structure of the temple, as the arch of the main chapel was enlarged and a new transept was added. The work was finished in 1691 and a Latin cross, similar to the current one was set in the church. In 1717 temple's front was renovated, and a new access to the belfry was constructed, which has two towers now. When the transept was built, the rector Father António Caria commissioned a Dutch company to add tile panels for the decoration of this new space.

Santa Maria della Vittoria, simply called the "Mother Church", is the most important religious building in the city. The largest church in the city shows evidence of previous wars from the fist-sized holes that can be seen in and around the exterior. Built in the shape of a Latin cross with three naves, a transept and a deep chancel. Inside valuable paintings such as the icon of Nicopeia, depicting the Virgin Mary, announcing to Pope Pius V the victory over the Turks, and a silver statue representing St. Vitus.

Santa María Del Campo was built in a Latin cross plan consisting of three naves as well as two chapels on each side. The building itself is mostly a combination of two construction stages. The part located at the foot of the ships is archaic with its 13th century principles, and has a small cloister dating back to 1425. In Bishop Acuña's time at the end of the 15th century, it became a new more slender and luminous head with a cover in each end of the cruise.

Saint Joseph's Church was built of reinforced concrete in 1969 with a façade of well-hewn stone from Stubllavaçë, the same source used for Saint Anthony of Padua’s church in Binač. The façade stones are sloped and tinted gray, and the edifice is topped with a Latin cross inscribed as follows: Martirët tanë 1846–1848 (“Our martyrs 1846–1848”). The church is triangular, featuring a nave from transept to apse and two side naves with no apse. The apse is pentagonal on the exterior, with two corners facing inward and three facing out.

The church is on the Latin cross plan, featuring a single nave with cross-vaults with a polygonal apse, and side chapels between the external buttresses. The lower apse has, externally, arches in mixed styles, perhaps inspired to style of the Aljafería Palace, above which are twenty decorative ogival arches and crosses forming quadrangular motifs. The bell tower has four orders with white and green tile decorations. The high altar, executed by José Ramirez de Arellano (who also made the sculptures in the Holy Chapel of the Pillar) dates to the 18th century Baroque renovation.

The structure is constructed of red brick with sandstone and terra cotta trim in the Romanesque Revival style with Byzantine elements. Designed by architect C. Grant La Farge, it is in the shape of a Latin cross measuring and seats about 1,200 persons. The interior is richly decorated in marble and semiprecious stones, notably a mosaic of Matthew behind the main altar by Edwin Blashfield. The cathedral is capped by an octagonal dome that extends above the nave and is capped by a cupola and crucifix that brings the total height to .

The flag of Trujillo Alto features a white background with the town's coat of arms in the center. The coat of arms features a shield with a blue border, with eight spurts of water representing the many springs, creeks, and rivers that flow in town. Inside the shield, there's a silver field with three green mountains and a blue Latin cross above them. The flag features a white banner below the shield with the name of the city, and a coronet in the form of a five-tower mural crown alluding to the Spanish crown.

The Cathedral Basilica of the Assumption of the Blessed Virgin Mary Cathedral Basilica of the Assumption of the Blessed Virgin Mary ( ) also called Sosnowiec Cathedral is a religious building affiliated with the Catholic Church which is located in the city of Sosnowiec in the European country of Poland. It is eclectic church built in 1899, on the plan of a Latin cross basilica type. As of 25 March 1992 is the cathedral of the Diocese of Sosnowiec. The most important Catholic shrine of Sosnowiec was built between 1893 and 1899.

The church entrance is preceded, in the Chiostro Grande, by frescoes of Jesus Carrying the Cross, Jesus at the Column and St. Benedict Giving the Rule to the Founders of Monte Oliveto, all the work of Sodoma. The church's atrium is on the site of a previous church (1319), showing on the walls frescoes with Father Hermits in the Desert and St Benedict's miracle, both by an unknown Sienese artists. In a niche is the "Madonna with Child Enthroned" by Fra Giovanni da Verona. The church takes the form of Latin cross.

Minor Basilica of Saint Sebastian, the south side. The basilica is in the form of a Latin cross with a large central nave with a barrel vault adorned with friezes, rosettes and stucco. The interior space is divided into three naves by means of strong pillars carrying large arches embellished by twin pilasters. The central nave is about 25 meters long from the inner entrance to the transept, 16 meters wide and 23 meters high, and both visually and acoustically constitutes the main architectural feature of the building.

In 1605 began the construction of the church, which occupied the northern end of the property. Attached to it and toward the Calle de los Reyes, stood the rest of the complex, although its works could not begin until mid-century. Of the building, the most notable was the church, built around 1606 according to the plans of Jesuit architect Pedro Sánchez, who had also made the Iglesia del Colegio Imperial. Placed under the patronage of Saint Ignatius confessor of Loyola, its plant was a Latin cross, with a transept and dome of good size.

The building, of imposing proportions, has 5 longitudinal naves, main and four side, a cruise of three naves, an apse aisle with two naves with seven apsidal chapels, a porch, a crypt and a sacristy. With 118 meters apse portico, it is 62 meters wide between the two end walls of the transept and 35 meters high on the cruise, is the second largest church in Spain after the Cathedral of Seville. Its Latin cross is reminiscent of the Chartres Cathedral and covers an area of 5,750 square meters and can shelter inside 150,000 people.

Collectable Cigarette card featuring the PLC colours and crest, 's The school crest was adopted at a College Council meeting on 23 August 1888. The College Council decided to use the same crest as that used by the Presbyterian Church of New South Wales, with minor modifications. The Church's crest consisted of a shield with the words Nec Tamen Consumebatur (translated from Latin as "And yet it was not consumed") surrounding it. On the shield were the stars of the Southern Cross, a burning bush, and a Latin cross in outline.

A Latin cross or crux immissa is a type of cross in which the vertical beam sticks above the crossbeam,Herbert Norris, Church Vestments: Their Origin and Development (Mineola, NY: Dover Publications, 2002), p. 128 with the three upper arms either equally long or with the vertical topmost arm shorter than the two horizontal arms, and always with a much longer bottom arm. If displayed upside down it is called St. Peter's Cross, because he was reputedly executed on this type of cross.Joyce Mori, Crosses of Many Cultures (Harrisburg, PA: Morehouse Publishing, 1998), p.

The main portal is in Churrigueresque (Spanish Baroque) style with two levels and a crest in the shape of a large seashell. The first level has an arch flanked by pilasters and niches with sculptures of the Sacred Heart and John the Evangelist. The interior has a layout of a Latin cross covered with vaults with side walls covered in oil paintings done by Agapito Ping between 1721 and 1785. One altar contains an image of Christ, the Good Shepherd, defending his sheep from various dangers including a group of unicorns.

Jo Melvin (2016): 'Keith Milow IT, IT, IT, IT.: Art that grows out of art', introduction to exhibition catalogue Keith Milow. Selected Works 2013–2016, Dadiani Fine Art, London, UK. Throughout his career Keith Milow has been pre-occupied with the form of the Latin cross which resulted in several hundred cross sculptures as well as drawings. During the 1990s, he produced series of disc-shaped sculptures ('tondi') that pay tribute to what he considered the great artists of the 20th century. Paintings from this period frequently contain names from this personal canon of modern art.

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").

Tall elm trees around it are home to jackdaws and rooks; their cries fill the air as they wheel above you. The modern little porch gives no indication that you are about to enter one of the more interesting churches in this part of Suffolk." Sam' Mortlock a former Norfolk county librarian describes All Saints as having been "probably a cruciform church." Cruciform churches were common in the Middle Ages and "Generally form the shape of a Latin cross they are formed through the intersection of two halls of similar heights that meet at right angles.

Front of the church By the late 1880s, the original church building had become insufficient for the parish's needs. Under the leadership of their elderly priest, John van den Brock, the parish erected a new church in 1887 at a cost of $5,000, according to a design by Anton Goehr. This building's walls are built of brick, supported by a stone foundation with a basement and topped with a gabled roof of asphalt. Its floor plan is the shape of a Latin cross, three bays wide and six bays long, and the entire building reflects the Gothic Revival style of architecture.

Three narrow Gothic lancet windows resting on a brownstone course are evenly spaced across the front, with a roundel high above. The roofline is marked by a corbelled cornice with a metal Latin cross at the gable's apex. The main entrance, at the foot of the bell tower, has double wooden doors, each with a St. Andrew's cross in the lower corner, set in a Gothic arch surrounded with three brick courses. A louvered, recessed Gothic arch marks the bell stage of the tower, which then gives way after brief corbels to the spire, topped with another cross.

The Catholic missionaries of "Consolata" promoted by governor De Vecchi (in Italian) It was built between 1923 and 1928 and was used as a model the "Cathedral of Cefalu" (in northern Sicily), created to commemorate the Christian reconquest of Sicily from the Arabs in the X century. The Cathedral was done in "Norman" Gothic style, designed by architect Antonio Vandone. The facade, with an impressive appearance, was delimited to the sides by two towers, each 37.50 meters high. The plan of the building was a Latin cross; inside was divided into three naves separated by piers with pointed arches.

The cathedral is the largest Catholic church in the city of São Paulo and second largest after the Pentecostal Templo de Salomão: 111 meters long, 46 meters wide, with the two flanking towers reaching a height of 92 meters. Its site area is 5,300 square meters, and its floor area is 6,700 square meters. The cathedral is a Latin cross church with a five-aisled nave and a dome that reaches 30 meters over the crossing. Although the building, in general, is Neo-Gothic, the dome is inspired by the Renaissance dome of the Cathedral of Florence.

The floor of the sanctuary and side chapels is covered with a marble mosaic pavement installed in 1927. The mosaic tiling comprises off-white tiles, set into a square grid of yellow tiles, with an ornate geometric and foliated border of black, grey and yellow tiles. The design incorporates a number of circular panels, including symbolic representations of a Pascal lamb (representing Christ), a sailing ship (representing the Star of the Sea), a Latin cross, a basket with loaves and fish (representing the Eucharist), and the monograms of the Sacred Heart and the Blessed Virgin Mary.

The plan of the church is a Latin cross crowned by a dome. Mansart's plan envisioned towers flanking the nave and an elevated entrance, giving the impression of a castle rather than the façade of a traditional church. The two-story facade, with its double stages of twin columns supporting a pediment and flanking consoles, recalls church elevations from the first part of the 17th century, such as the Église des Feuillants, also designed by Mansart in 1623-24. More clear and sober than the Mannerists, Mansart's facade squares his façade with linked vertical lines using the columns and entablatures.

The Lourdes Grotto The Abbey Church, the most prominent building on the college's campus, was completed in 1894 under the supervision of Abbot Leo Haid. Drexel made significant donations to the completion of the structure, which served as North Carolina's first and only cathedral prior to the erection of the Diocese of Raleigh in 1924. The church is constructed in the gothic-revival style out of brick and granite, built in the shape of a Latin cross. The towers of the church, named Ora (the taller) and Labora (the smaller), can be seen from most of the college campus.

Jäder Church is a significant work of Swedish renaissance architecture, and is sometimes locally jokingly referred to as Rekarne domkyrka, "Rekarne Cathedral", owing to its unusually large size for a village church and extensive renaissance decorations. The church is situated on a hill surrounded by fields and built in stone and brick. It consists of a western nave, a choir of similar dimensions in the east, a sacristy to the north, the Brahe burial chapel opposite the sacristy to the south, a church porch and a western tower. The burial chapel and the sacristy form the arms of a latin cross.

The inscribed pillar near Bagh na h-Uamha Simple stone pillars, over 4.5 feet tall, have been found at Kilmory and Bagh na h-Uamha ('bay of the cave'), and may date from this period.Rixson (2001) page 35. The latter pillar in particular is inscribed with a slim cross having strong similarities to a motif in the late 6th century Cathach of St. Columba. The other pillar – at Kilmory – is slimmer (being 9" wide, rather than 1'4"), but is inscribed with a more elaborate design, resembling a globus cruciger sat in a chalice; on the back is a simple Latin Cross.

The Latin Cross variation created a greater sense of spatial unification within the space. In his design for the church of Il Gesù, Vignola broadened the nave and made the transepts and side chapels smaller, creating a better and brighter focal point for the main space and allowing more room for the congregation at mass. The cultural patronage of the pope in Rome was an extreme case of diversity in comparison with surrounding Italian city-states. The pope served his role as not only the head of the Catholic Church, but as the acting ruler for the city.

The building has a masonry foundation, with ashlar stone columns in each corner, and has features such as chains, windows, buttresses, pillars, arches, transoms, cornices and ornamental features such as corbels. The exterior walls are plastered and whitewashed. The church has a Latin-cross plan with three naves, flat headers, with lateral vestries and a bell tower at the foot, the headwall appears attached to the former parish cemetery, today a garden. The nave and transept have a vaulted ceiling, the apse has a slightly pointed barrel vault ceiling and the central section of the hemispherical dome has scalloped decorations.

The American Legion commissioned the cross to commemorate the 49 servicemen that died overseas in World War I. The monument was designed by Washington, D.C. architect and artist John Joseph Earley, and was erected between 1919 and 1925. The Latin cross design was selected as it mirrored the cross structures used on the gravesites of soldiers buried after the war in Europe and other locations. United States Secretary of the Navy Josephus Daniels spoke at the monument's groundbreaking ceremony in September 1919, with a formal dedication ceremony in July 1925. The name "Peace Cross" was first used in the Washington,D.

The main facade (which is oriented to the west) is decorated with a gable, cut and ornamented in spiral decoration, surmounted by cornices and Latin cross over double plinths. The main portal in a polylobial arch, includes several frames, flanked by two orders of pilasters and two columns built into the wall, surmounted by friezes over rectangular plinths. These plinths include inferior plinths supporting fragments of the portico and superior plinths with angular cornices, that extend until the corners, and pinnacles similar to balustrades. Between the portal and corners, are small backrests with the Portuguese shield.

Konrad of Schleiden, builder of Castle Neuenstein, bore arms charged with golden glaives (a mediaeval pole weapon). The five “plates” (silver roundels, or in this case balls or orbs, as the German blazon has it) are taken from a seal used by a Johann von Neuenstein. The golden mount symbolizes the Goldberg, a mountain in the municipality whose name has the same meaning as the municipality's Latin- derived name, and the charge is therefore also canting. The dragon's head and the Latin cross are Saint Margaret's attributes, thus representing the municipality's and the church's patron saint.

The basilica is approached via St. Peter's Square, a forecourt in two sections, both surrounded by tall colonnades. The first space is oval and the second trapezoidal. The façade of the basilica, with a giant order of columns, stretches across the end of the square and is approached by steps on which stand two statues of the 1st-century apostles to Rome, Saints Peter and Paul. The basilica is cruciform in shape, with an elongated nave in the Latin cross form but the early designs were for a centrally planned structure and this is still in evidence in the architecture.

The Library Park Historic District in Las Vegas, New Mexico, was listed on the National Register of Historic Places in 1979. The listing included 21 contributing buildings and a contributing structure on . It includes a Carnegie library, the Carnegie Public Library of Las Vegas, which is a cross- plan red brick Classical Revival building with a center dome and a porticoed entrance, designed by architects Rapp & Rapp. With It includes the Immaculate Conception Church (1949), at the southwest corner of the library park, a creme brick Latin cross plan Gothic Revival-style church which was designed by Les J. Wolmagood.

The high-altar of the chapel of D. Fradique The sarcophagus of Esteves da Gata The monastery is located in an urban square, on a slope, but outside the medieval burg, alongside the Cross of São Francisco. The long rectangular plan, includes a transept in the form of a Latin cross with the remains of the primitive church framed in polygonal apses in the south. Not only are the rear arches, nor the tops, are sculpted, suggesting that the areas were covered in Arcosolium. Its square front is divided in two flights, topped by undulating triangular frontispiece of cornices.

After 50 years the nuns moved again to the present Kungsberg (3 km east of Fogdö), where they were able to have built a full monastic complex in accordance with the Cistercian principles of monastery construction and layout. The new buildings were put into operation in 1289. At the same time the name of the community was changed to Vårfruberga ("Mountain of Our Lady"), and was formally accepted into the Cistercian order, as a daughter house of Julita Abbey. The church was built in the shape of a Latin cross, with three aisles and a short transept.

The church was erected in 1616 under design of Giovanni Ambrogio Mazenta. Most of the work was completed within the 17th century, while the façade, designed by Enrico Pini, was finished only in the mid- and late-18th century. The latter has two orders, with capitals featuring floral motifs; at the sides of the main portal are statues of St Liborius and the Blessed Alessandro Sauli (from the Barnabite Order), while in a central niche is the statue of St Charles Borromeo, the church's titular. The interior is on the Latin cross plan, with three side chapels.

The present building complex, a landmark of Monfero, is essentially that of the 17th century, constructed mostly of granite and slate on a site of outstanding natural beautyWebsite on the surrounding landscape ]. The church, which continues in operation, is built on the plan of a Latin cross with a single nave and two side aisles, and has a distinctive and well- known Baroque west front with four enormous half-pillars and two half- pilasters with a chequered design of inlaid tiles. The Baroque main altar was made in 1666. The church contains four Gothic tombs of the de Andrade family.

The front face of the plinth features a plaque with a commemorative statement from the citizens of the Koumala district. The obelisk is surmounted by a small Latin cross. Inscriptions on the plaques on the memorial read as follows: Front Inscription [ Names ] Plaque : In Memory Of Those Who Gave Their Lives In Defence Of Our Country At the going down of the sun and in the morning We will remember them Their Name Liveth For Evermore Dedicated 2006 [ Names ] Plaque : Erected By THE CITIZENS OF KOUMALA & DISTRICT In Memory Of Those Who Made The Supreme Sacrifice In Defence Of Their Country.

Our Savior's Lutheran Church, "Sanctuary and Chapel"St. John's Lutheran Church of Topeka, KS, "The Altar Crucifix" The symbol is less common in churches of other Protestant denominations, and in the Assyrian Church of the East and Armenian Apostolic Church, which prefer to use a cross without the figure of Jesus (the corpus).History of St Yeghiche Church, Kensington, London The crucifix emphasizes Jesus' sacrifice—his death by crucifixion, which Christians believe brought about the redemption of mankind. Most crucifixes portray Jesus on a Latin cross, rather than any other shape, such as a Tau cross or a Coptic cross.

Baron Michael de Taube was aware of the mistake, and had met the qualifying Commander in Paris (Taube ibidem page 43). By 1955, out of a possible 14 Commanders, only 6 were in membership of the Paris Group; Taube ibid page 50. Those families in membership are listed in italics, and the families where the direct descendants had come to an end, were signified by a Latin cross. Under the guidance of Grand Duke Vladimir, applicants claiming to the Hereditary Commanders were carefully scrutinised, and those qualifying admitted under the signature of Grand Duke Vladimir – claimant to the Russian Throne.

Plan of a Gothic cathedral The plan of Gothic cathedrals and churches was usually based on the Latin cross (or "cruciform") plan, taken from the ancient Roman Basilica.,and from the later Romanesque churches. They have a long nave making the body of the church, where the parishioners worshipped; a transverse arm called the transept and, beyond it to the east, the choir, also known as a chancel or presbytery, that was usually reserved for the clergy. The eastern end of the church was rounded in French churches, and was occupied by several radiating chapels, which allowed multiple ceremonies to go on simultaneously.

The Parish Church of Urtijëi located in the town of Urtijëi in Val Gardena in South Tyrol, Italy is dedicated to the Epiphany and to Saint Ulrich. It was built in the years 1792-1796 in the Neoclassical style with some Baroque elements by the tyrolean master Joseph Abenthung and the interior domes painted by the Tyrolean brothers Franz Xaver and Josef Kirchebner. The structure of the church has the form of Latin cross with a central nave and two lateral chapels dedicated to the Sacred Heart of Jesus and to Our Lady of the Rosary.

This building was one of the first churches built in Chihuahua City. Construction began in 1717 on a plan that called for a latin cross with a dome over the crossing (the sanctuary is essentially unchanged since completion in 1789); it also served as the first junior school for ladies in Chihuahua. In 1811 the beheaded body of Fr Miguel Hidalgo y Costilla, considered the 'Father of the Nation', was intombed in the West Chapel of the temple after his execution by the Spanish; after the independence of Mexico, it was taken to Mexico City. A marker commemorates the original burial site.

The interior, on the Latin cross plan, is divided into a nave and two aisles, with crossed vaults, separated by six columns each; the latter are in white or red Verona marble, with Gothic capitals. The four columns over the high altar show the coat of arms of the Castelbarco of Trento, a family who extensively contributed to the church's construction. Notable is the funerary monument to Cortesia Serego, on the left of the apse, which was finished in 1432 by Vincenzo di Stefano da Verona. It portrays the riding figure of Cortesia, clad with an armor and holding a commanding wand.

The tower, which extends for has long narrow rectangular openings on its shaft and shallow balcony-like sections of concreted balustrading supported on decorative moulded corbels. These balconies are found on each of the four sides and are accessible by door openings on the top level of the tower. Heavy mouldings define the upper limits of the tower above which is a bell shaped cupola roof clad with copper sheeting and surmounted by an illuminated Latin cross. The principal eastern facade faces the Brisbane River, looking toward the bend where the Bulimba and Hamilton Reaches converge.

280px The North Court at Mission San Xavier del Bac, Tucson, Arizona San Xavier has an elegant white stucco, Moorish-inspired exterior, with an ornately decorated entrance. Visitors entering the massive, carved mesquite- wood doors are often struck both by the coolness of the interior and the dazzling colors of the paintings, carvings, frescoes, and statues. Its rich ornamentation displays a mixture of New Spain and Native American artistic motifs. The floor plan of the church resembles the classic Latin cross, with a main aisle separated from the sanctuary by the transept, which has chapels at either end.

Interior of the church This church has a neoclassical style and looks like a Greek temple. It has a Latin cross form, and its facade has a Doric portico, topped by a triangular pediment, and many Doric columns. Above the six columns of the facade, there are a frieze and a triangular pediment with a cross. In the interior, the fresco of the dome was done in 1893-1894 by Étienne Couvert (1856-1933) and depicts the Virgin and the twelve apostles, and there is a glass made by Lucien Bégule, representing the Holy Spirit as a dove.

In 1809, the church was suppressed, and in 1933 joined to the Hospital of Incurables (Ospedale degli Incurabili) under the original order of the monastery. But by the 1970s, the church was in poor state of conservation. The interior is laid out as a Latin cross with chapels, and houses paintings by Domenico Antonio Vaccaro, Girolamo D'Auria, and a Madonna statue and a Deposition bas-relief by Giovanni da Nola. Among the masterworks in the church is the Renaissance burial monument of the Giovanniello de Cuntco and his wife, Lucrezia Filangieri di Candida (1517), sculpted by Giovanni Tommaso Malvito.

San Michele Maggiore can be considered the prototype of other important medieval churches in Pavia such as San Pietro in Ciel d'Oro and San Teodoro. However, it differentiates from latter in the use of sandstone instead of bricks, and for the Latin cross plan with a nave and two aisles and a much extended transept. San Michele's transept, provided with a true façade, a false apse and a barrel vault different from the rest of the church, constitutes a nearly independent section of the edifice. Also its length (38 m, compared to the 55 m of the whole basilica), contributes to this impression.

The cathedral's frescoed interior The cathedral has a Latin cross plan consisting of a vaulted nave, two aisles and two side chapels. Most of the cathedral's floor consists of inlaid tombstones or commemorative marble slabs, similar to those found at St. John's Co-Cathedral in Valletta and the Cathedral of the Assumption in Victoria, Gozo. The remains of several bishops and canons, as well as laymen from noble families, are buried in the cathedral. The ceiling contains frescoes depicting the life of St. Paul which were painted by the Sicilian painters Vincenzo, Antonio and Francesco Manno in 1794.

These side wings have steeply pitched parapeted gables and at the level of the ground floor projecting bays whose gabled awnings reflect the gabled roof form. Grouped lancet windows under pointed and flat headed arched hood moulds on the second floor, small rose windows, statue niches and Latin Cross finials at the apex of the gables contribute to the ornamentation of the wings. The render on the Ann Street facade is scribed with ashlar coursing. A central bi-furcating stairway, with substantial masonry balustrade featuring cut-out quatrefoils accesses the ground floor verandah of the building on the Ann Street facade.

The cathedral has a Latin cross floorplan. The nave is 21 metres long and 10 metres wide, divided from the side-aisles by pilasters with Ionic capitals, with two side chapels and a large transept, the arms of which extend 7.80 metres. The choir is 10 metres long and 7.40 metres wide. The chapels and apse are barrel-vaulted, as are the nave and the transept, except of course at the crossing, which is roofed by the large octagonal dome (36 metres high), covered with decorations (1950-1962) and frescoes (1954), the more recent work by Peppinetto Boi Ales.

In the course of this work, the buildings in the back were demolished, restoring the small Sant'Agata chapel to its original free-standing state. The exterior has bichrome marble bands which re- use Roman stones. The façade, designed in the 12th century, but completed in 14th maybe by Giovanni Pisano, has two corps with pilaster strips, blind arches, marble intarsias and three orders of loggias in the upper section. The interior is on the Latin cross plan with a nave and two aisles divided by columns in granite from Elba, an apse and a dome on the crossing with the transept.

The red field and gold Latin cross in his coat of arms was influenced by that of Modeste Demers, Gagnon's aforementioned ancestor and predecessor as bishop of the Diocese. Gagnon made his first ad limina visit to the Holy See on October 2, 2006, together with four other bishops from the Assembly of Western Catholic Bishops (AWCB). Gagnon oversaw the conclusion of a financial and legal debacle for the Diocese of Victoria that began in the 1980s under his predecessor, Remi De Roo. It saw the lending of diocesan funds for an investment in Washington state that subsequently failed.

While the bishopric has been established since at least the 4th century,Catholic Hierarchy: Diocese of Acqui the present cathedral building was begun under bishop Primo (989-1018) and was consecrated in 1067 by bishop Guido, later Saint Guido. The ground plan is in the shape of a Latin cross, and there are five aisles (but until the 18th century, only three), terminating in three semi-circular apses. Of the Romanesque structure there still remain visible the apses, the transept, and the crypt, which underlies both the transept and the choir. The remainder has been subject to further work in later centuries.

The brass lectern depicts an eagle standing on the sphere of the earth, around which it carries the Gospel on its back. It was presented by the surviving children of William and Elizabeth Eckford. The reredos, presented by the sons of Samuel and Ann Clift in memory of their parents, is of Oamaru stone and Carrara marble, its three panels symbolising the Trinity, and severally bearing the legends Alpha and Omega and the christogram IHS, surmounted by a Latin cross. It was carved by David Gourlay of Sydney and erected by William Hallam, also of Sydney.

The west front is dominated by the rose window of sixteen rays and by the campanile on the left side, 52 metres high. The cathedral has a Latin cross ground plan and contains three naves, separated by round arches supported by columns with stone capitals. Much of the interior received a Baroque-style decoration in the 17th and 18th century, including gilted stuccoes and frames. The interior houses a Byzantine-style fresco depicting the Madonna della Bruna and Child, dating from 1270 and attributed to one Rinaldo da Taranto; the relics of Saint John of Matera (translated here in 1830);La Città del'Uomo.

It is a fifty-one foot concrete Latin cross with neon inset tubing, and it is located at the crest of Skinner's Butte [sic]. The parties who erected the cross did not seek the City's permission to do so beforehand; however, they subsequently applied for and received from the City a building permit and an electrical permit. :Since 1970, the City has illuminated the cross for seven days during the Christmas season, five days during the Thanksgiving season, and on Memorial Day, Independence Day, and Veteran's Day. :The cross has been the subject of litigation since the time it was erected.

Following de Paule's death in 1636, the palace remained in use as a residence by subsequent Grand Masters of the Order, since it was closer to the capital city Valletta than the Verdala Palace. Over the years, the building was expanded from having a T-shape into a Latin cross. During the French occupation of Malta and the subsequent Maltese uprising, the palace was the meeting place of the rebel National Assembly, which first met on 11 February 1799. In 1800, the palace became the residence of the first British Civil Commissioner, Admiral Sir Alexander Ball, who died at the palace in October 1809.

These larger panels hold two images, the first of Thomas the Apostle with a set-square and Philip the Apostle with a Latin cross and the second Bartholomew the Apostle with a knife and Matthew the Evangelist with a lance. The last four panels depict James the Lesser with a St Laurent's stick, Simon the Apostle with a saw, Matthew the Evangelist with a book and halberd and Judas Iscariot with an épée. Further panels include images of people playing the harp and viola or holding an anchor and another crossing water. On top of the rood screen is a depiction of the crucifixion.

Saint Joseph's Church was built to accommodate 1,500 worshippers,St Joseph’s Church, in History of the Catholic Church in Singapore - The Virtual Exhibition in a Gothic Revival style with a portico supported by four columns and decorated by large marble statues of Saint Joseph, Saint John of God and Saint John de Brito. There are also an outdoor shrine to Our Lady of Fatima and azulejos (Portuguese decorated tiles) on the walls of the church depicting the apparitions of Our Lady of Fatima. It had a low square tower and bell turret. The plan of the church was laid in the form of a Latin cross.

The church is on the Latin cross plan with a nave, two aisles and a transept. Much of the decoration dates from the reign of Christina, Grand Duchess of Tuscany, who in 1627 commissioned the restoration of the Collegiata to Florentine artists, who provided large devotional altarpieces and sculptures. Artists include painters Matteo Rosselli, Francesco Curradi, Jacopo Vignali, Pietro Dandini, Bastiano Bitozzi, Jacopo Chiavistelli, and Alessandro Cominotti, and the sculptors Giovan Battista Stagi, Stagio Stagi and Ferdinando Tacca. The marble pulpit is instead from 1508, by Benti and Lorenzo Stagi, while the walls and the ceiling were painted by Luigi Ademollo in 1823-1825.

The monastery church follows the usual plan for churches of this order, a Latin Cross with an elevated choir at the foot and the altar behind a wide staircase. The mannerist altarpiece of the main chapel is considered the point of departure of Andalusian sculpture as such; it is mainly the work of Pablo de Rojas. The richly decorated Renaissance interior features coffering, scalloping and sculptures, and is a late work of Renaissance humanism. The iconographic program highlights the military and the heroic grandeur of the Gonzalo Fernández de Córdoba, known as the Gran Capitán ("Great Captain"), who is buried in the crossing with his wife, Doña Maria de Manrique.

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 church's facade is by and incorporates a Romanesque gateway, the only survival from the hospital, and an inscription above it recording the hospital's foundation by cardinal Pietro Capocci. The interior is on a Latin cross plan with three naves covered by a cross-vault. Each nave terminates in an apse - the main one contains a crucifix by Giovanni Odazzi and the two side ones contain Russian iconostases. The side chapels also hold iconostases and the side aisles contain remains of bas-reliefs found during 20th century restoration work - these are from the ancient church on the site and date to between the 9th and 10th centuries.

The interior of St Mary's The church is planned on the traditional Latin cross form. The total interior length, from east to west, is 175 feet (53.3 metres) long, or, as described in a contemporary source: 'nearly three chains, or three times the width of Bourke Street'. The church is 96 feet (29.2 metres) wide, from transept to transept, or 'being five feet narrower than Elizabeth Street, from shop window to shop window'. The bulk of the east-west portion of the church is 68 feet (20.7 metres) wide, and comprises a nave, flanked by two aisles and three pairs of projecting alcoves, three of which are used as confessionals.

Exterior facade of the Chapel of the Rosario. This type of construction reflects the economic reach of the Church in those years and the ambition and sumptuousness with which its churches were planned and erected. The plan is arranged in the shape of a Latin cross, with short sections and testero. The nave is divided into three sections and its vault is barrel with lunettes in the same way as the sections of the crossing, it has a narrow dome with tholobate and on this some windows and others in the semicircular dome, whose purpose is to give illumination to the sumptuous ciprés just down.

The corrugated iron roof is gabled and has overhanging eaves lined with wide timber beaded boarding which returns to the interior of the space. The eastern entrance facade features a small gabled entrance porch, with a pointed arched opening formed with smooth-faced sandstone blocks. Buttressing is formed by extensions of the faces of both the porch and main body of the church, this detail is repeated on the transepts and western end of the building. Above the porch is a rose window, of heavy tracery, with some early glass panels; above this is a ventilation opening in the form of a Latin Cross.

Monastery of Fitero The Monastery of Fitero ( or Monasterio de Santa María de Nienzebas) is a Cistercian monastery located at Fitero, Navarre, Spain, on the banks of the Alhama River. It was founded, on a different site, in 1141 as part of the Cistercian expansion into Spain from the center at Escaladieu Abbey, and moved to Fitero in 1152. Durand (Durandus, Durando) was its first abbot, followed by St. Raymond of Fitero, who later founded the Order of Calatrava. The floor plan of the church is similar to that in the monasteries of Clairvaux and Pontigny, a Latin cross plan with three naves, the ambulatory sanctuary with five side chapels.

San Giovanni in Leopardis is a former Roman Catholic church and Benedictine church located in a hilltop south of the town of Borgorose, in the province of Rieti, region of Lazio, Italy. Only ruined and stripped elements of the Romanesque church walls and former crypt remain. Once attached to a Benedictine abbley, linked to the Abbey of Montecassino, the site is first mentioned in 1153 in a papal bull by Anastasius IV. Putatively built using elements at the site of an Ancient Roman temple dedicated to Diana. The layout of the church was that of a Latin cross with the crypt likely located below a semicircular apse and presbytery.

Completed in 1619, the church was in a sober Florentine Renaissance style, with a Latin cross with three naves supported by arcuated colonnades and with lateral chapels. It was initially consecrated to the Birth of the Virgin of and All Saints (Ognisanti). There are two cloisters: the first cloister is called the "chiostro maiolicato" from its embedded maiolica tiles. A much larger second 17th-century cloister, is accessible through the first; this cloister hosts the entry to both the "Quadreria" or art collection, which had been previously housed in the sacristy of the Church, and the magnificent library of the Oratorian Fathers, the Biblioteca Girolamini, now run by the Italian state.

John Wallis introduced the infinity symbol to mathematical literature. The shape of a sideways figure eight has a long pedigree; for instance, it appears in the cross of Saint Boniface, wrapped around the bars of a Latin cross. However, John Wallis is credited with introducing the infinity symbol with its mathematical meaning in 1655, in his De sectionibus conicis. Wallis did not explain his choice of this symbol, but it has been conjectured to be a variant form of a Roman numeral for 1,000 (originally CIƆ, also CƆ, which was sometimes used to mean "many"), or a variant of the Greek letter ω (omega)—the last letter in the Greek alphabet.

The cathedral has a Latin cross ground plan with a single nave. The first side-chapel to the right contains a St. Benedict and Saints by Andrea Previtali (1524), and the first side-chapel to the left, the Madonna and child with saints by Giovan Battista Moroni (1576). The church also contains a Madonna with child with two doves by Giovanni Cariani, as well as canvases attributed to Giambettino Cignaroli and Sebastiano Ricci, including a Saints Firmus, Rusticus, and Proculus (1704). In the apse is a Martyrdom of Bishop Saint John of Bergamo (1731-1743) by Giovanni Battista Tiepolo and a Saint Alexander by Carlo Innocenzo Carloni.

The church is located in an urban area, in between residential buildings, with a paved churchyard, delimited by wall and flanked in the north, west and south. Access to the churchyard is to the right, fenced-in by a grade and gate in iron, while to the northwest is an uncharacteristic two-story annex building for catechism. To the east is a pillory with Latin cross with three orders of plinths over rectangular base. On the southern flank, is the building of the social centre, east by the Rua da Igreja and agricultural pastures, and north by another building, followed away by the Junta de Freguesia.

Sometimes the brim is shown much narrower; with a domed top it can look like a cappello romano with tassels, but in heraldry it is still called a galero. The tassels may be represented as knotted cords. Joseph Zen of Hong Kong with the simple Latin cross, and a violet galero (prior to his elevation to cardinal priest) A special exception is made for Chinese bishops, who avoid using a green hat in their arms since "to wear a green hat" is a Chinese idiom for cuckoldry.The title of the film The Green Hat comes from this idiom, according to reviews by the Adelaide and Tribeca film festivals.

A significant part of the funds needed to build the cathedral were raised by personal donations from almost every corner of the Russian Empire. In an appeal to Moscow's residents, Gourko's chancellery wrote: The rest of the funds came from mandatory donations required from all municipalities within Gourko's jurisdiction and special tax increases within the city of Warsaw . The mostly non-Russian-Orthodox population who had to provide these funds resented being forced to contribute, adding to the political controversy surrounding the project. By 1900, the construction of the building was largely finished and on November 9, the Latin cross was erected on the main cupola.

Annai Velankanni Church Annai Velankanni Feast 2012 The early part of the 20th century marked rivalry between Jesuits and Franciscans regarding their influence on missionary work in Velankanni. In 1928, the Church of the Immaculate Heart of Mary (managed by the Jesuits) was demolished and the statues were brought to the Shrine of Our Lady of Good Health; in 1933 the Shrine was expanded with two new wings, to the right and to the left of the 'Main Altar', meeting the nave at right angles. A spacious vestry was provided immediately behind the altar. Thus the entire sacred edifice began to assume the shape of a Latin Cross.

The origins of the municipality's flag can be traced back to the days of the failed 1868 revolt against Spanish rule known as the Grito de Lares. The flag is derived from the Dominican Republic flag of 1844-49 (reflecting the rebel leaders' dream to eventually join with the Dominican Republic and Cuba into one nation) and was knitted by Mariana Bracetti, a revolutionary leader, at the behest of Dr. Ramón Emeterio Betances, the revolt's leader, who designed it. This flag is formed by a white Latin cross in the center. The width of the arms and base are equal to a third part of the latitude of the emblem.

Camp Washington-Carver Complex, also known as West Virginia 4-H Camp for Negroes, is a historic camp and national historic district located near Clifftop, Fayette County, West Virginia. The district encompasses four contributing buildings and two contributing structures, the most notable being the Great Chestnut Lodge, a log building of unusual size and structural character. It is the largest log structure built entirely of chestnut in West Virginia. It was built in 1941–1942, and is a 1 1/2 story building in the form of a modified Latin cross with a gabled block (Assembly Hall) and a gabled wing or ell (Dining Hall).

The site of the present church used to be occupied by a wooden church, following the form a Latin cross, erected in 1638, when Vilnius was part of the Polish–Lithuanian Commonwealth and was known as Wilno. Associated with the church was a convent, opened in 1567. After a fire gutted the wooden church in the 18th century, a stone church was erected in 1749–1753 in the Baroque style, with details of the interior in Roccoco style. It was designed by Johann Christoph Glaubitz, an architect of German descent who was noted for developing a Lithuanian school of Baroque architecture, known as Vilnian Baroque.

The Romanesque cathedral, the main monument of the city, is named for its patron St. Lawrence, and was begun at the end of the 13th century, by architect Sozzo Rustichini of Siena. Erected over the earlier church of Santa Maria Assunta, it was only finished in the 15th century (mainly due to the continuing struggles against Siena). The façade of alternate layers of white and black marble is Romanesque in style, but is almost entirely the result of 16th century and 1816–1855 restorations: it retains decorative parts of the originary buildings, including Evangelists' symbols. The layout consists of a Latin cross, with transept and apse.

Pipe organ of the Basilica of Notre-Dame d'Alençon The architectural sources for the construction of Notre-Dame d'Alençon are to be found in churches such as La Trinité de Falaise, Saint-Germain d'Argentan, and Saint-Maclou in Rouen. The church is constructed in the shape of a Latin cross, in three sections. The central nave of five bays is supported by strong fasciculated columns with reduced capitals, indicative of early 15th-century construction, and rising in three storeys. The aisles are covered by rib vaults, while the main nave is decorated with star-patterned tierceron vaults with ridge rib and tufty foliage sprigs.

Construction of the church and convent were directed by Giovan Giacomo di Conforto, while Cosimo Fanzago in 1652 designed the facade with its two stucco statues of Saint Teresa d'Avila and St John of the Cross. In 1835, a ramp needed to be built when the street level was lowered. The interior is a Latin cross plan with a single nave; in the chapel are conserved works by Baroque artists including Paolo De Matteis and the Flemish painter Niccolò De Simone. There is also a tomb sculpted by Tito Angelini, statues by Domenico Antonio Vaccaro, busts by Matteo Bottigliero and Angelo Viva and some decorations by Costantino Marassi.

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.

The Cathedral of Évora, built mainly between 1280 and 1340, was designed following closely the floor plan of Lisbon Cathedral, which had been built in the second half of the 12th century in Romanesque style. Like that church, the builders of Évora Cathedral designed a Latin cross church with a transept, a nave higher than its two aisles, a triforium (arched gallery over the central aisle) and an apse with three chapels. The crossing of the transept is topped by a dome, supported by pendentives, and an octagonal lantern. The transepts are lighted by two Gothic rose windows, one with the morning star and the other with the mystical rose.

Bracetti Plaza, or Mariana Bracetti Plaza, is a public housing development built and maintained by the New York City Housing Authority in Alphabet City, a section of the East Village neighborhood of Manhattan. The development is named after Mariana Bracetti (1825-1903), a legendary Puerto Rican woman who was known as the "Arms of Gold", and who was the first to craft the Boriquas Latin Cross, Puerto Rico's first flag. The flag was designed by Dr. Ramon Emeterio Betances, and is still a symbol of the Puerto Rican independence movement. Bracetti Plaza is a seven-story building on grounds measuring , at 251 East 3rd Street, or 290 East 4th Street.

Close to the cathedral there is the Baroque oratory of the Mount of the Dead Brotherhood, the oldest catholic fraternity of Chieti that was officially acknowledged by Pope Innocent X in 1648. The Church of Saint Francis, which has the traditional Latin cross plan, was probably founded in 1239 thanks to the nobleman Antonio Gizio, who donated his estate to the project. In the second half of the 14th century a new façade was constructed, but it was rebuilt in the 17th century except the top with a rose window. After years of decay, in 1689 they started an extensive restoration which changed the appearance of this church.

View of chevet at the rear of the Église Sainte-Pitère View from south side of the Église Sainte-Pitère The Le Tréhou Parish close (Enclos paroissial) is located at Le Tréhou in the arrondissement of Brest in Brittany in north- western France. The parish close was first established in 1555 then reconstructed in the 17th Century and reworked in the 18th Century. The church, the Église Sainte-Pitère, is dedicated to Saint Pitère (or Saint Pithère or Saint Piterre) and is shaped in the form of a Latin cross. The south porch was added in 1610, with a statue of Saint Pitère over the entrance.

Ginsburg argued that crosses remained unconstitutional in the World War I context by noting that the mass-produced Spirit of the American Doughboy statue was far more common and that the National Jewish Welfare Board had successfully objected to the inclusion of a cross on the Tomb of the Unknown Soldier.Am. Legion, 139 S. Ct. at 2111 (Ginsburg, J., dissenting) citing In Ginsburg's view, the Peace Cross unconstitutionally “elevates Christianity over other faiths, and religion over non religion.” Although the dissent refers to the Latin cross as exclusively Christian, the majority opinion notes that the Swiss flag consists of a white cross on a red background.

The flags bore a Latin cross on a blue background with a red trim. On April 30th, elements of the Union Army of the Tennessee commanded by Major General Ulysses S. Grant landed on the Mississippi side of the Mississippi River. Brigadier General John S. Bowen, Confederate commander at Grand Gulf, was tasked with delaying the Union advance at Port Gibson. The Confederate force at Port Gibson consisted of the troops of Green, Brigadier General William E. Baldwin, and Brigadier General Edward D. Tracy. Bowen sent the 3rd, 5th, and 6th Missouri Infantry Regiments, Guibor's Missouri Battery, and a portion of Landis' Missouri Battery to Port Gibson under the command of Cockrell.

The church's footprint has a Latin cross shape, with one arm of the transept shortened compared to the original design. The outer form of the building presents neo-Gothic style: this type of single-tower brick church was known in the second half of the 19th century as the German type, combining simplicity with an impression of monumentality. The church has a medieval character, with buttresses, gables and grand windows, decorated with tracery, characteristic of English Gothic architecture. This influence in Pomerania can be explained by the wide distribution, from the middle of the 18th century, of English textbooks and architectural templates, which were by then perfectly known by 19th century Prussian architects.

The courtyard of the former Villeggiatura del Collegio dei Nobili, on the former cloister The only surviving building of the abbey is the former abbey church, now the parish church of Fontevivo, dedicated to Saint Bernard. The Villeggiatura del Collegio dei Nobili, an accommodation block now converted to flats, was constructed on the site of the conventual buildings in 1733 for the use of the Collegio, based in Parma, during the holidays. The arcaded courtyard preserves the outline of the cloister. The abbey church, in the shape of a Latin cross, has a modest transept with two side chapels in each wing (those in the north wing are walled up), and a square apse.

In 1877, a temporary Pro-Cathedral was erected in the grounds of the Deanery at a cost of G$10,000. Arthur Blomfield then produced the first plans for the new cathedral - for a building in stone with a central tower and two western towers; but these were rejected because of the weight and the expense. His subsequent plans for a wooden cathedral were accepted, a design that kept many of the salient features of his first plan, such as the central tower and the Latin cross formation of nave and transepts. It was in the Gothic style of architecture, complete with flying buttresses, but it also had a tropical flavour, ensuring light and air.

Crosses on flags become more widespread in the Age of Sail, as maritime flags, and from this tradition develop into national flags in the 18th to 19th century, the British Union flag (as naval flag) was introduced in 1606, after the Union of the Crowns. The Nordic cross is a modern cross variant used on rectangular flags only, introduced for rectangular civil ensigns for Denmark in 1748. This is to be distinguished from the (rare) heraldic charge of a horizontal Latin cross, known as the "Cross of Saint Philipp". Several national flags are based on late medieval war flags, including the white-on-red crosses of the flag of Denmark and the flag of Switzerland.

Cotonou Salem Temple, affiliated to the Assemblies of God, in Cotonou, in Benin, 2018 The architecture of evangelical places of worship is mainly characterized by its sobriety.Peter W. Williams, Houses of God: Region, Religion, and Architecture in the United States, University of Illinois Press, USA, 2000, p. 125Murray Dempster, Byron D. Klaus, Douglas Petersen, The Globalization of Pentecostalism: A Religion Made to Travel, Wipf and Stock Publishers, USA, 2011, p. 210 The Latin cross is one of the only spiritual symbols that can usually be seen on the building of an evangelical church and that identifies the place's belonging.Mark A. Lamport, Encyclopedia of Christianity in the Global South, Volume 2, Rowman & Littlefield, USA, 2018, p.

The current brick structure was designed in the Latin cross design (complete with narthex, nave, transepts, and choir) and with pointed-arch windows, both characteristic of churches in the Gothic Revival style. The stained glass windows were installed in 1943 and were made with blue glass from Czechoslovakia. They depict various Judeo-Christian symbols, including the Luther rose, an eagle in a boiling cauldron (both symbols for St. John), a crown of thorns, a throne, a Bible, and the Ark of the Covenant (among others). The interior also houses the original hand-stenciled pipe organ and three murals (one of Christ the Good Shepherd, one of Jesus preaching at the Sea of Galilee, and one of Heaven).

It was built in the form of a Latin cross with a series of shallow domes in the vault over the nave and a large dome over the crossing, with a semi-dome over the apse. The following day, on Sunday 15 July 1610 (the feast of Santiago) the altarpiece or retablo behind the high altar was inaugurated.Chimalpahin in his Diario is explicit that the consecration occurred on 14 July, the eve of the feast ("14 de julio de mil seiscientos diez años, siendo las vísperas de Santiago apóstol"), and that the retablo was inaugurated the following day, a Sunday, the feast of Santiago, 15 July; in the Roman Calendar that feast is celebrated on 25 July.

Its church is in the form of a Latin cross, with short arms, an elongated nave (approximately 50 metres in length, and 30 metres high), and side chapels situated between the domed arches - three chapels on either side of the nave, and two more under the choir. The church is notable for its decoration of the coats of arms of the Catholic Monarchs held by eagles. Its chancel is decorated with an altar (mid-16th century) from the former Santa Cruz Hospital by sculptor Felipe Bigarny and painter Francisco de Comontes, depicting scenes from the Passion and the Resurrection, as well as two scenes of the Santa Cruz legend. Its cloister has a small garden.

The municipality’s arms might be described thus: Or an eagle bicapitated displayed sable with nimbi gules surmounted by a Latin cross argent, itself surmounted by a dexter hand palewise proper, the forefinger and middle finger extended, the others flexed. The arms go back to a court seal from 1722 which bore the inscription SVB MANV SOLIVS DEI (“Under the only God’s hand”). The eagle is the old Imperial eagle. The cross and the hand are traditional charges locally standing for the old jurisdiction that the municipality held. The hand, with the forefinger and middle finger extended, is what in German is called a Schwurhand (“swearing hand” or “oath-taking hand”), as this is the typical gesture locally.

They are also shown impaled by Tame Merchant's mark of John Twynyho (d.1485), A Tau Cross combined with a Latin Cross, as indicated by the shape of the matrix of the missing monumental brass at the top of his ledger stone in Lechlade Church John Twynyho (c.1440 - 30 September 1485) (alias Twynyhoe, Twynihoe, etc.) of Cirencester, Bristol"John Thwinyho of Cirencester and Bristow", per Chitty, Visitation of Gloucestershire 1623, pp263 and Lechlade, all in Gloucestershire, was a lawyer and wealthy wool merchant who served as Recorder of Bristol, as a Member of Parliament for Bristol in Gloucestershire in 1472-5 and in 1484 and for the prestigious county seat Gloucestershire in 1476.

Coventry Cathedral was severely damaged during the Coventry Blitz, and its roof was destroyed on 14 November 1940. The idea for the cross came from Rev Arthur Philip Wales, who was then rector of St Mark's church in Coventry, which was also damaged in the bombing, and later rector at St Michael's church in Warmington, Warwickshire. He found several large hand- forged medieval carpenters nails as he walked through the ruins of the cathedral on the morning after the bombing. He used some wire to bind together three nails into the shape of a Latin cross, with one nail vertical and two head-to-tail as a cross-piece, and presented them to the Bishop of Coventry, Mervyn Haigh.

These spaces are deferentially scaled with tiled gable roofs, including one annex, while simple faceted spires have been erected on the bell towers (painted white). The walls are plastered and white-washed, with the main floor, corners, pilasters, friezes, cornices and frames in black stone. The church is oriented to the southeast, with its main facade finished in an ornamented pediment, that includes a central circular clock, and crowned by an iron Latin cross above a gabled plinth and parallel elliptical scrolls, with lateral pinnacles. Consisting of two registers, the church is divided by cornices and friezes: by three rectilinear lines, with frames surmounted by convex friezes, linear cornices and windows with sills.

Whilst the choice of monument was left to each commune it is worth noting that the law stated that monument aux morts should not bear symbols of a religious nature unless they were erected in a cemetery, and, by and large, this law was respected although there were some exceptions. This often meant that a commune would have its public monument aux morts, placed in say the main square or by the mairie and its parish monument aux morts erected in the church with the latter including the Latin cross or other religious symbols. This was borne out of the great schism between Church and State in France which was crystallised in 1904.

Clapp Memorial Library The Clapp Memorial Library is a public library in Belchertown, Massachusetts. Built in 1887 at the bequest of Belchertown native John Francis Clapp, the library is part of the Belchertown Center Historic District. Designed by New York architect H.F. Kilburn, it is built in the form of a Latin cross and features two large, stained glass windows as well as an eighty-foot-high tower in the center of the building. Constructed by the Bartlett Brothers of Whately, MA, the building features primarily local materials, including the brownstone from Longmeadow, MA, the brick trim from Holyoke, MA, and the stained glass windows, made from sand and silica from Western Massachusetts.

The Church, built between the 12th and 14th centuries, that is, in the transition from the Romanesque to the Gothic, has a Latin cross plan with only one nave and four sections up to the transept; this one is very long but narrower than the nave, so it gives rise to a rectangular transept that is covered with an octagonal dome that rests on trumpets whose construction is dated in the 13th century. In the two arms of the transept there are two square apse chapels. The main apse at the head of the nave is also quadrangular and smooth. The temple is covered with a gothic ribbed vault and the apses and transept with barrel vaults.

The Charente-Maritime, by Louis Maurin and Dominique Tardy, archaeologocal pre-inventory, page 105 A new sanctuary was built to the design of the architect Gustave Alaux who had already worked on the construction of several churches in the Bordeaux region including the church of Mortagne-sur-Gironde a few kilometres from the commune. This building was in the Gothic Revival style and incorporated a Latin cross plan consisting of a single nave with three bays, with a ribbed vault lit by six large lancet windows decorated with stained glass executed by the master glassmaker E. Lagrange. Six stone buttresses support the nave. A transept and apse frame the shrine which was consecrated in 1879.

The church has a Latin cross plan with numerous side chapels. The building was inspired by the Jesuit mother church, the Church of the Gesù in Rome (finished in the late 16th century). The imposing order of Corinthian pilasters that rings the entire interior, the theatrical focus on the high altar at the rear of the broad eastern apse, the church's colored marbles, animated stucco figural relief, richly ornamented altars, extensive gilding, and bold Tromp l’oeil paintings in the "dome" at its crossing and in the nave ceiling all produce a festive, sumptuous effect. Funds to build a dome were lacking, hence a painter to paint the illusion of a dome was hired.

Over the 160 years of its construction, the architects of La Compañía incorporated elements of four architectural styles, although the Baroque is the most prominent. Mudejar (Moorish) influence is seen in the geometrical figures on the pillars; the Churrigueresque characterizes much of the ornate decoration, especially in the interior walls; finally the Neoclassical style adorns the Chapel of Saint Mariana de Jesús (in early years a winery). The floorplan of La Compañía makes a Latin Cross, with central, northern and southern arms; it has the conventional nave, transept, crossing, presbytery, antechamber to the sacristy, sacristy, and chapel. The central nave is topped by a 26-meter high barrel vault constructed of pumice and brick.

The elevation is symmetrically composed and defined by a decorative parapeted gabled, where a moulded capping follows the curves and notches of a Cape Dutch gable outline. Featured on the elevation are several groups of round headed arched openings; a porch/loggia is formed by a recess separated from a wide concrete stairway by an arcade of three arched openings supported on large cast iron columns; centrally located on the facade above this is a doubled arched opening with a lightly-framed Juliet balcony flanked by groups of three arched window openings. Centrally placed near the apex of the parapet is a large diamond mullioned "rose" window. Surmounting the apex of the gable is a masonry Latin cross.

The Cathedral of St. Mary the Great () also called Viana do Castelo Cathedral is a Catholic church and fortress built in the fifteenth century, which preserves a Romanesque appearance and is located in the city of Viana do Castelo in Portugal.REIS, António Matos; "Lopes - Uma Família de Artistas em Portugal e na Galiza" in "Revista de Guimarães", Vol. XCVI, Guimarães, 1986 Its facade is flanked by two large towers topped by battlements and highlights its beautiful Gothic portal with archivolts with sculpted scenes from the Passion of Christ and sculptures of the Apostles. It is a Romanesque church with a Latin cross and inside is separated by three arches supported on pillars ships.

Although the church's crossing, in its lateral development, protrudes slightly in floor, the plan cannot be described as a Latin cross, it is essentially rectangular with a single nave divided in three sections: the crossing, the greater chapel and the choir, high, at the feet, on a wide lowered arch. The nave and the main chapel have half-barrel vaulted ceilings and lunettes; In the transept, dome on pechinas (pendentives), without drum and with blind lantern. On a base of ashlar masonry, there is a limpid and undeveloped interior elevation, articulated by Tuscan pilasters that, extended on the smooth frieze, reach the capitals located directly under the cornices. Four buttresses support the dome in the crossing.

The church, still incomplete, was inaugurated in 1870. The two towers on the west side were enlarged in 1882. Tallinn Neil Taylor - 2007 - Page 151 CHARLES'S CHURCH "This massive and austere late 19th-century limestone building seats 1,500 people ... original wooden church built in the late 17th-century" The church is designed in the tradition of Western European Cathedrals, with two western towers flanking a rose window, and built in a Romanesque Revival style. The church has a Latin cross plan, and is in effect a hall church, the ceiling being held aloft without the use of pillars (according to a solution thought out by Hippius in collaboration with R. von Bernhardt).

As numbers of clergy increased, the small apse which contained the altar, or table upon which the sacramental bread and wine were offered in the rite of Holy Communion, was not sufficient to accommodate them. A raised dais called a bema formed part of many large basilican churches. In the case of St. Peter's Basilica and San Paolo Fuori le Mura (St Paul's outside the Walls) in Rome, this bema extended laterally beyond the main meeting hall, forming two arms so that the building took on the shape of a T with a projecting apse. From this beginning, the plan of the church developed into the so-called Latin Cross which is the shape of most Western Cathedrals and large churches.

The interior is occupied by a massive dome at the crossing of the Latin cross plan, creating a centralizing effect which contrasts the exterior impression of a linear or oblong building. Surrounding the main dome is a sophisticated system of barrel vaults and shallow, saucer- like secondary domes. The light-filled interior designed by Latrobe was striking in contrast to the dark, cavernous recesses of traditional Gothic cathedrals. The Basilica houses many precious works of art, including two heroic portraits: the first entitled Descent from the Cross by Pierre-Narcisse Guérin and the second, by Baron Charles de Steuben, depicts Louis IX of France burying his plague-stricken troops before the siege of Tunis at the beginning of the Eighth Crusade in 1270.

The sober façade of the church has a Romanesque portal from the 15th century and a small rose window. The edifice is on the Latin cross plan, with a nave and two aisles of nearly the same length, ending in a large presbytery without an apse. In the right wall of the transept is a 15th-century ciborium, with columns and capitals in Gothic-Renaissance style, while the left wall houses a fresco of the Last Supper, episodes of Jesus' life and lives of Saints. They date from Among the various figures portrayed in them, one has been identified as the future pope Celestine V. Other frescoes, dating to the 14th and the early 15th century, are housed in the crypt..

Depositoire on the south wall of the abbey church The Abbey church is placed on the highest point of the site, and is in the form of a Latin cross, about forty metres long and twenty metres wide, oriented east-west, with the choir and altar at the east end, as is usual. The exterior is perfectly plain, with no decoration. Since only the monks were permitted inside, there is no monumental entrance, but only two simple doors, for the lay brothers on the left and the monks on the right. The door for the monks was known as the "Door of the Dead", for the bodies of monks who had died were taken out through this door after a mass.

Over its history, this complex, especially the main church, was remodeled several times because of its importance to the evangelization efforts as well as its later importance as a parish church then Cathedral. Of the fourteen early monastery complexes recognized by the World Heritage organization, this is the only one which has experience large scale changes since it was built. In the 17th century, modifications were made to the church, beginning with the construction of two chapels to give it the layout of a Latin cross. The choir area, side altars and other parts were probably added at this time as well. In 1713, a vault similar to a cupola with a “liternilla” and a bell tower on the southeast corner were added to the structure.

Harry Houdini,. and Gerald Loe (1955).. Inspired by Loe, Martin Gardner wrote about the fold-and- cut problems in Scientific American in 1960. Examples mentioned by Gardner include separating the red squares from the black squares of a checkerboard with one cut, and "an old paper-cutting stunt, of unknown origin" in which one cut splits a piece of paper into both a Latin cross and a set of smaller pieces that can be rearranged to spell the word "hell". Foreshadowing work on the general fold-and-cut theorem, he writes that "more complicated designs present formidable problems".. Reprinted with additional material as Chapter 5 of Martin Gardner's New Mathematical Diversions from Scientific American, Simon & Schuster, 1966, pp. 58–69.

The major exceptions to the standard pattern are in the work of James 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 in Montorio, designed by Donato Bramante (1444–1514). The Latin Cross form, increasingly popular in Counter Reformation Catholicism, was also used, as in Smith's Canongate Kirk (1688–90), but here it never saw episcopal service as the Presbyterian revolution of 1689–90 occurred before it was completed and the chancel was blocked up, making it, in effect, a T-plan.

The church of the Saints Ambrogio and Carlo al Corso is the national church of the Lombards, to whom in 1471 Pope Sixtus IV gave, in recognition of their valuable construction work of the Sistine Chapel, the small church of S. Niccolò del Tufo, which was first restored and then dedicated to S. Ambrogio, the patron saint of Milan."Ss.Ambrogio e Carlo al Corso", RomaSegreta, May 3, 2018 Its construction was begun in honour of the canonization of St. Charles Borromeo in 1610, under the direction of Onorio Longhi and, after his death, of his son Martino Longhi the Younger. The site was that of the former church of San Nicola de Tofo. The ground plan is based on the Latin cross.

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.

The Normans also began the construction of Old St Paul's Cathedral on Ludgate Hill, replacing a primitive Saxon timber framed building. By the time of its completion in the 14th century the cathedral included elements of Gothic architecture alongside the Romanesque nave constructed by the Normans. The cathedral was one of the largest and tallest churches in medieval Europe; at one point it was crowned by an exceptionally tall spire similar to that of Salisbury Cathedral which was about 158 m (520 ft) high, although this was destroyed after being hit by lightning in the 16th century. The cathedral was latterly completely destroyed in the Great Fire of London of 1666 and replaced by Christopher Wren's surviving baroque cathedral which retained the medieval cathedral's Latin cross layout.

The church in its original form on Giovanni Maggi's copper engraving (1625)Soon after its transfer to the prestigious Lombard Congregation Santa Maria del Popolo was reconstructed between 1472 and 1477 on the orders of Pope Sixtus IV. This was part of the ambitious urban renovation program of the pope who presented himself as Urbis Restaurator of Rome.Jill E. Blondin: Power Made Visible: Pope Sixtus IV as "Urbis Restaurator" in Quattrocento Rome, The Catholic Historical Review Vol. 91, No. 1, pp. 1–25 The medieval church was entirely demolished and a new three- aisled, Latin cross shaped basilica was built with four identical chapels on both sides, an octagonal dome above the crossing and a tall Lombard style bell-tower at the end of the right transept.

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.

The logo used is a Latin cross with budded arms superimposed over a lyre, on a diamond-shaped background. Inside these covers one finds more than hymn texts: The Church Year is summarized; followed by the full texts of the Augsburg Confession; the texts of the Apostles' Creed, the Nicene Creed, and the Athanasian Creed; and the Small Catechism by Dr. Martin Luther. Prayers are included as well as four different rites of The Divine Service. The Divine Service: Rite One is based on the Danish Ritual of 1685; The Divine Service Rite Two is from the Common Service from 1888; The Divine Service: Rite Three is a new setting by Dr. Alfred Fremder; and The Divine Service: Rite Four is the Lutheran "Chorale Mass".

The building has the scale of the French Beaux Arts, with a cruciform plan in the shape of a Latin cross, with long nave-like wings symmetrically placed east–west about the central dome, and a shorter wing to the north. The Great Hall is still in beautiful condition, crowned by an octagonal drum and dome rising 68 metres, and 18.3 metres across. The dome was formed using cast iron and timber frame and has a double shell. At the crossing, windows in the drum of the dome bring in sunlight for a bright open space. The interior is painted in the colour scheme of 1901, with murals and the words "Victoria Welcomes All Nations" under the dome surviving from 1888.

The construction of St Michael and All Angels Anglican Church between 1910 and 1911, to serve the spiritual needs of Kingaroy's rapidly expanding population, is associated with this period of significant growth in the district. The place is important in demonstrating the principal characteristics of a particular class of cultural places. St Michael and All Angels Anglican Church is an excellent example of a timber-framed church, which at the time of construction was considered one of the best timber buildings in the Brisbane Diocese. Highly intact, it demonstrates the principal characteristics of an early 20th century Anglican church utilising a Latin cross plan with the northern transept accommodating a chapel, the southern transept a vestry and the western end an entry porch.

At the end of the Decumanus Maximus a left turn takes one into the Cardo Maximus, leading after 75 meters to the Central Church. The church is on the axis of the Platea, Propylon, and Augusteum and was so named by researchers because of its topographical position. One apse which was then visible had been identified as part of a church by Arundell, but none of the further researchers were interested in the building until 1924, when it was excavated and the architect Woodbridge drew a rough plan. It was thought that the church had a small Latin-cross plan, but continuing excavations in 1927 by Ramsay and in the present by Taşlıalan have shown that the central church has a larger and a more orthodox plan.

View from the south There are many remains of the abbey, although in ruins, particularly the Romanesque abbey church in the shape of a Latin cross 63 metres long, the construction of which was begun about 1170 and finished in the second quarter of the 13th century. The apse at the east end is completely preserved and has a vaulted ambulatory round a rectangular choir, with seven chapels as at Clairvaux.cf. also Pontigny Abbey, Royaumont Abbey, Heisterbach Abbey, etc Also preserved are the walls of the 27 metres wide transept and of the northern aisle, and parts of the nave, once comprising three aisles and nine bays. Of the conventual buildings to the north of the church, the chapter house among others remains, although partly reconstructed.

In churches with less traditional plans, the term may not be useful in either architectural or ecclesiastical terms. The chancel may be a step or two higher than the level of the nave, and the sanctuary is often raised still further. The chancel is very often separated from the nave by altar rails, or a rood screen, a sanctuary bar, or an open space, and its width and roof height is often different from that of the nave; usually the chancel will be narrower and lower. In churches with a traditional Latin cross plan, and a transept and central crossing, the chancel usually begins at the eastern side of the central crossing, often under an extra-large chancel arch supporting the crossing and the roof.

Interior detail The façade, in stone and opus latericium, is from the end of the 18th century and the beginning of the 19th. The interior has a Latin cross ground plan, with three aisles separated by pilasters and a raised transept. As well as the relics of Sixtus I, the cathedral also keeps those of the Roman Saint Alexander from the Catacombs of Callixtus, translated to Alatri in 1640, and the Ostia incarnata, from the Eucharistic miracle of Alatri of 1228.cf :it:Miracolo eucaristico di Alatri The cathedral's works of art include a copy of Guido Reni's Crucifixion; the face of Saint Sixtus in chased and repoussé silverwork (1584); and the Madonna del suffragio, a sculpted wooden group of figures executed in 1639.

The flag was divided in the middle by a white Latin cross, the two lower corners were red and the two upper corners were blue with a white star in the upper left blue corner. According to Puerto Rican poet Luis Lloréns Torres the white cross on it stands for the yearning for homeland redemption; the red squares, the blood poured by the heroes of the rebellion and the white star in the blue solitude square, stands for liberty and freedom. The "Revolutionary Flag of Lares" was used in the short- lived rebellion against Spain in what became known as El Grito de Lares (The Cry of Lares).Peres Moris, José, Historia de la Insurrección de Lares, 1871 , Library of Congress, Retrieved Feb.

The flag was divided in the middle by a white Latin cross, the two lower corners were red and the two upper corners were blue with a white star in the upper left blue corner. According to Puerto Rican poet Luis Lloréns Torres the white cross on it stands for the yearning for homeland redemption; the red squares, the blood poured by the heroes of the rebellion and the white star in the blue solitude square, stands for liberty and freedom.Lares The "Revolutionary Flag of Lares" was used in the short-lived rebellion against Spain in what became known as El Grito de Lares (The Cry of Lares).Peres Moris, José, Historia de la Insurrección de Lares, 1871 , Library of Congress, Retrieved Feb.

The diocese was established by the late 5th century,Catholic Hierarchy: Archdiocese of Acerenza but the structure of the present Romanesque cathedral building dates from 1080, when construction was begun under archbishop Arnald of Cluny. The site however is far more ancient and traces remain in the present building both of a pagan temple to Hercules Acheruntinus and of the earlier Christian church. It has a Latin cross ground plan, and three aisles, which terminate in a raised presbytery behind which is an apse with an ambulatory and three radiating chapels, an unusual feature in Italian church design; the transept also terminates at either end in a semi-circular chapel. The ambulatory contains the altar which houses the relics of Saint Canius (or Canus; ).

The church has a single nave, a Latin cross ending with an apse; on the main altar there is a large Annunciation painting, while one of the ten side altars is dedicated to St. Joseph. The facade of the church is divided into two compartments: in the lower level there is an appreciable portal, while in the upper one, under the tympanum, there is a spacious window, which lights up the interiors. There's also a three-storied belltower ending with an octagonal space next to the church. Between the end of the 12th and the beginning of the 13th century, the University of Sant'Antimo had a small chapel built, with an attached hospital, entrusted to the Confraternity of the Disciplined, under the name of S. Maria dell'Annunziata.

Interior The interior has a Latin cross plan, with a nave and two aisles divided by pilasters. The presbytery and the transept are elevated, to allow space for the underlying crypt. The latter houses fragments of ancient mosaics which show the presence here of a cult temple from at least in the 3rd or 4th century AD. The side chapels were built to house the sepulchers of the noble families of Parma: two of them, the Valeri Chapel and the Commune Chapel, have maintained the original decoration from the 14th century. Particularly noteworthy are the capitals, also in the exterior: many of them are characterized by rich decorations with leaves, mythological figures, scenes of war, as well as Biblical and Gospel scenes.

St. Alban's Church was one of the first to be designed by the noted architect Nugent Francis Cachemaille-Day and built by the Southampton builders GE Prince & Sons. A "big cruciform church with (a) low, broad central tower,"The Buildings of England: Hampshire, page 574 it is on the Latin Cross plan and is late Gothic in style. The traditional outward appearance of the church contains a "spacious and well shaped interior", with a centralised altar that Pevsner described as "original and innovative". The east end of the church which would normally have formed the chancel was used as a Lady chapel, while the main altar is sited under the central tower much closer to the congregation - now a common arrangement but present at St. Alban's from the first.

The church is built in the form of a Latin cross, and is decorated with large paintings made in 1954 by Alfonso Tentarelli according to the project of father Jean Lerario; there is a wooden statue of Mary with Jesus blessing child of the fifteenth century (unknown author) called "Madonna dello Splendore". On August 15, 1914, a golden silver crown, made by the Migliori family, was placed on the head of the Virgin. Around 1950, the statue was surrounded by rays, symbol of divine light, and placed above a tree to remember the olive tree in which it appeared in 1557. In the sacristy there is a remarkable painting of the Virgin and Child in glory with the saints Peter, Paul, Dorothy and Francis, of the sixteenth century, by Paul Veronese.

The German blazon reads: Schild geteilt, oben gespalten, vorne in Gold ein grünes Eichenblatt, hinten in Schwarz ein goldenes schwebendes Passionskreuz; unten blau-golden geschacht. The municipality's arms might in English heraldic language be described thus: Per fess, in chief per pale Or an oakleaf vert and sable a cross Latin of the first, and in base chequy of the first and azure. The charge on the sinister (armsbearer's left, viewer's right) side above the line of partition is a Latin cross, called a “Passion cross” in the German blazon. The cross's meaning is twofold: it refers to the Fourteen Holy Helpers and the former pilgrimage site on the one hand, and on the other to Paul Schneider, the Evangelical pastor who once worked in Dickenschied and who was murdered at Buchenwald.

On top of the belfry are pyramidal pinnacles on each tower corner, while a multi-faceted pyramidal spire tops each tower. The lateral facades are decorated with cornices surmounted by ledge, with each side of the nave marked by two rectangular windows and transversal door topped by a triangular pediment, and on the first floor of the annex spaces are windows oriented to southeast and northwest respectively, while the second floor windows are oriented to the east and west. The spaces abutting the presbytery, are marked by two or three windows depending on the number of floors. The rear facade terminates in a gable and is crowned by an iron Latin cross, while a rectangular window covers the end of the nave, while the presbytery includes a rectangular and circular oculus.

The building was first mentioned in records from the eighth century and was originally a baptismal chapel in the imperial palace built by Charlemagne, which the emperor is believed to have visited at Christmas in the year 775. The church stands on the remains of a large rotunda, partially cleared during excavations in the crypt in 1876 and 1902. Most of the Gothic basilica was built by Sélestat traders, a few metres from the Romanesque church of the priory of Sainte-Foy, the earlier church of the town, and its construction may be held to mark the growing wealth and independence of the merchant classes. Building of the new church — on a Latin cross groundplan with three aisles and a transept — started around 1220 and continued without interruption until the early fifteenth century.

A Celtic cross with vertical arm longer than the horizontal High Cross in Llanynys, North Wales Cross near Peebles, Scotland Kingswood war memorial A high cross at Monasterboice in Ireland The Celtic cross is a form of Christian cross featuring a nimbus or ring that emerged in Ireland, France and Britain in the Early Middle Ages. A type of ringed cross, it became widespread through its use in the stone high crosses erected across the islands, especially in regions evangelized by Irish missionaries, from the 9th through the 12th centuries. A staple of Insular art, the Celtic cross is essentially a Latin cross with a nimbus surrounding the intersection of the arms and stem. Scholars have debated its exact origins, but it is related to earlier crosses featuring rings.

Plan of a large Latin cross church, with the chancel (strict definition) highlighted. This chancel terminates in a semicircular sanctuary in the apse, and is separated from the curved walls to the east in the diagram by an ambulatory. Plan with the broader definition of the chancel highlightedView from the nave of the chancel of Condom Cathedral in France, with ambulatories and two altars, the modern one in the choirSt Peter's, Lilley, Hertfordshire a medium-sized English church showing the nave, chancel arch, and a chancel with choir and sanctuary In church architecture, the chancel is the space around the altar, including the choir and the sanctuary (sometimes called the presbytery), at the liturgical east end of a traditional Christian church building. It may terminate in an apse.

The interior of the basilica, known as the Shrine, was designed using concepts by Dom Bellot as well as Canadian architect Gérard Notebaert, and uses a Latin cross layout with a dome at the crossing. The interior has an overall length of . The nave, which contains pews to seat 2028 people (with a maximum capacity of 10,000 people), measures in width, while the transept measures and connects to the shrine of Brother André. The apse, as well as the rest of the interior, is designed in Art Deco style, which was very popular in Montreal during the 1930s, and contains sculptures, bas-reliefs, mosaics and stained glass of religious imagery. The roof of the basilica is held up using reinforced concrete multi-angle arches iconic of Dom Bellot’s style.

It also has the oldest baptismal fonts of Nantes (fifth century). At the end of the fifth century, Gregory of Tours designated the church as the , in his De gloria Martyrum saying was dedicated to Saint-Donatien. In 848, Nantes is vandalized during the Norman invasions. If the church is not destroyed, it is nevertheless looted, and the saint's relics deposited at the well (which still exists) disappear at that time. In 958, a procession allows to Gauthier bishop and his canons, to launch a public subscription to undertake the restoration of the building, which will be completed towards 1172, by the Duke Geoffroy II. Following the siege of Nantes by Louis XI in 1487, Bishop Peter of Chaffault, repaired and enlarged the basilica Building it in the form of a Latin cross.

Exactly one century later, in 908, to commemorate a hundred years of the Asturían kingdom's victories and conquests, Alfonso III donated Pre- Romanesque most important gold artifact to Oviedo Cathedral: the Victory Cross or Santa Cruz, a Latin cross (unequal arms) of 92 cm by 72 cm. The core is made of two pieces of oak with circular ends finished in three foils, and joined in the centre by a circular disk. The whole cross is covered with gold leaf and filigree, and richly decorated especially the anverse, covered with coloured enamel, pearls, precious stones and gold thread. The reverse shows an inscription in soldered gold letters, mentioning the donors to the Church of San Salvador, King Alfonso III and Queen Jimena, and the place (Gauzón Castle again) and the year it was made.

The church of "Nunziata" The Basilica della Santissima Annunziata del Vastato, simply called "Nunziata", is a major Genoese church. The interior of the church is Baroque, but the façade, with a high portico and two bell towers, was built only in the 19th century in Neoclassical style. The interior has a Latin cross plant with a nave and two aisles with some chapels decorated with frescoes, paintings, inlaid marble and stucco, works by the greatest Genoese artists of the 17th century.www.annunziatadelvastato.it History of Basilica della Santissima Annunziata del Vastato The church, built in 1520 in Gothic style, anachronistic at that time, was given its present Baroque appearance in the first half of the 17th century by architects Giovanni Domenico Casella and Giacomo Porta, with the funding of Lomellini family.

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.

Johann Franz Encke introduced a new system in the Berliner Astronomisches Jahrbuch (BAJ) for 1854, published in 1851, in which he used encircled numbers instead of symbols. Encke's system began the numbering with Astrea which was given the number (1) and went through (11) Eunomia, while Ceres, Pallas, Juno and Vesta continued to be denoted by symbols, but in the following year's BAJ, the numbering was changed so that Astraea was number (5). The new system found popularity among astronomers, and since then, the final designation of a minor planet is a number indicating its order of discovery followed by a name. Even after the adoption of this system, though, several more minor planets received symbols, including 28 Bellona the whip and lance of Mars' martial sister, 35 Leukothea an ancient lighthouse and 37 Fides a Latin cross (10px).

The church was built mainly of spruce fir timbers, but a different tree essence was used for the sills, the two portals, the frames of three large windows and for the framework of the tower. The frames of two large windows seem to be prefabricated, while the third was designed with an arched upper part topped by a cross, a motif similar with that on the portal above the entrance. The three large windows together with the small one on the west facade seem to be penetrated by the horizontal axes of the church, from east to west and from south to north, forming an invisible but present Latin cross inside the holy house. This church is more than influenced by the Moldavian sacred architecture, it is rather a Moldavian wooden church transplanted into a Maramoroșan village.

Early texts, such as the Acts of Andrew known to Gregory of Tours,In Monumenta Germaniae Historica II, cols. 821–847, translated in M.R. James, The Apocryphal New Testament (Oxford) reprinted 1963:369. describe Andrew as bound, not nailed, to a Latin cross of the kind on which Jesus is said to have been crucified; yet a tradition developed that Andrew had been crucified on a cross of the form called crux decussata (X-shaped cross, or "saltire"), now commonly known as a "Saint Andrew's Cross" — supposedly at his own request, as he deemed himself unworthy to be crucified on the same type of cross as Jesus had been.The legends surrounding Andrew are discussed in F. Dvornik, "The Idea of Apostolicity in Byzantium and the Legend of the Apostle Andrew", Dumbarton Oaks Studies, IV (Cambridge) 1958.

The chapel is finished in gable topped by iron cross and marked by portal with straight lintel, framed by Tuscan ashlar pilasters, surmounted by a cornice line that supports curved pediment, surmounted by two pyramidal pinnacles, the alignment of the pilasters, and two lateral oval glasses. The left, lateral facade includes a marble plaque and the right lateral faced includes capialço around the altar. The plaque includes: :CASIMIRO CSBELEIRA Residente nos EUA Mandou restaurar as paredes desta Capela :Casimiro CS Beleira Resident of the United States of America restored the walls of this Chapel To the rear of the chapel is a small niche with a sculpture of the Virgin Mary, surmounted with a stone Latin cross. The single- nave in granite ashlar are joined and painted white, illuminated by slit on the epistle-side, with stone flooring and varnished wood ceiling.

The project from 1630 was directed by Dionisio Nencioni di Bartolomeo, who was also the architect for the church of the Girolamini. By 1636, nearly all the cloister was complete. Interior. In 1699, construction of a church began using designs by Dionisio Lazzari, a second cupola was added by Arcangelo Guglielmelli in 1720, while in 1734 the third dome was added. From 1681-1686, the nave of Latin cross plan was completed, and the main altar was designed by Lazzari with sculptures by Matteo Bottiglieri; the altar of the right transept was designed by Guglielmelli and houses a Holy Family painted by Pomarancio; the altar of the left transept was sculpted by Bartolomeo and Pietro Ghetti, designed by Vinaccia, and has statues by Giuseppe Sammartino and the Ghetti brothers, and hosts a painting by Luca Giordano.

The placement of the choir within a large Latin cross church The choir of Bristol Cathedral, with the nave seen through the chancel screen, so looking west A choir, also sometimes called quire,OED, "Choir" is the area of a church or cathedral that provides seating for the clergy and church choir. It is in the western part of the chancel, between the nave and the sanctuary, which houses the altar and Church tabernacle. In larger medieval churches it contained choir-stalls, seating aligned with the side of the church, so at right-angles to the seating for the congregation in the nave. Smaller medieval churches may not have a choir in the architectural sense at all, and they are often lacking in churches built by all denominations after the Protestant Reformation, though the Gothic Revival revived them as a distinct feature.

American Legion v. American Humanist Association, No. 17-1717, 588 U.S. ___ (2019), was a United States Supreme Court case dealing with the separation of church and state related to maintaining the Peace Cross, a World War I memorial shaped after a Latin cross, on government-owned land, though initially built in 1925 with private funds on private lands. The case was a consolidation of two petitions to the court, that of The American Legion who built the cross (Docket 17-1717), and of the Maryland-National Capital Park and Planning Commission who own the land and maintain the memorial (Docket 18-18). Both petitions challenged the Fourth Circuit's ruling that, regardless of the secular purpose the cross was built for in honoring the deceased soldiers, the cross emboldened a religious symbol and had ordered it altered or razed.

De re aedificatoria, written by Leon Battista Alberti and dedicated to Pope Nicholas V 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. Under Pope Nicholas V, construction started between 1451 and 1455 on an extension of the old St. Peter's Basilica to create a Latin cross plan with a dome and lantern 100 braccia high over a crossing 44 braccia wide (about 24.5 meters wide). Little more than foundations and part of the choir walls were completed before work stopped with the death of Nicholas V. This innovation would culminate in Bramante's 1505–6 projects for a wholly new St. Peter's Basilica, and throughout the sixteenth century the Renaissance set of dome and barrel vault would displace use of Gothic ribbed vaults.

The German blazon reads: Von Gold und Rot gespalten, über einem von Blau und Silber gespaltenen Wellenbalken vorn eine rechtsgewendete rote Axt, hinten über drei goldenen Kugeln (1:2) eine goldene Mitra, darin ein rotes Kreuz. The municipality's arms might in English heraldic language be described thus: Per pale Or a fess wavy abased azure above which an axe palewise gules, and gules a fess wavy abased conjoined as one to the other argent above which a mitre Or charged with a Latin cross of the field above three bezants, one and two. The field tinctures Or and gules (gold and red) refer to the village's mediaeval allegiance to the lordship of Manderscheid-Blankenheim, for they are the Counts’ old tinctures. The fess wavy (that is, horizontal wavy stripe), which changes tincture at the line of partition, symbolizes the local brook, the Reuther Bach.

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.

Largely as a result of the awkward incorporation of a Latin cross layout in a baroque design, the overall composition of the cathedral is considered to be inferior to most comparable baroque cathedrals of the same period, however, the 111-metre-high dome completed in 1710 is widely considered to be one of the greatest ever built, and has since become one of London's most enduring landmarks; it was also London's tallest building from 1710 until 1962. The main west facade with its double corinthian order and fine baroque towers is another successful feature of the exterior, with a great imposing scale when viewed up Ludgate Hill. The tower of St Mary-le-Bow (1683) Christopher Wren, one of the finest of the City Churches. The 51 city churches (25 of which survive today) designed by Wren and his team are also of great architectural significance.

Floor plan (left is north; up is east) In plan it is a Latin cross, with a total length from east to west of about 105 m; the height of the nave vaulting is 23 m. The west front has a porch, added in the 14th century, and two unfinished towers, their upper portions dating from the 13th century; their decorations have been greatly mutilated. The nave consists of eleven bays, including those of the west front, which, in the interior, forms a kind of transept, similar to some narthexes of English churches. The windows of the aisles, the arches of the triforium gallery, and the windows of the clerestory use round-headed arches, but double pointed arches appear in the lower gallery and in the vaults of the nave and aisles. The vaulting was originally sexpartite, but were rebuilt after a fire in 1293 in the prevailing quadripartite style.

This facade has profuse vegetative ornamentation, with ears of corn prominent and is the most elaborate of the five missions. It is likely that this mission was constructed by Juan Ramos de Lora, who resided here from 1761 to 1767. The structure is similar to those in Jalpan and Landa. It has a church with a Latin cross layout and choir area, a sacristy, atrium with cross and chapels in the corners of the atrium called “capillas posas.” There is also a pilgrims’ gate, a cloister and quarters for the priest. The interior has a number of sculptures including one of “Our Lady of Light.” The facade is marked by a rhomboid window surrounded by a representation of the cord Franciscans use to tie their habits. The basic theme of the facade is mercy, represented by interventions by the Virgin Mary and various saints.

In Jewish tradition another name of God is Elohim, relating to the interaction between God and the universe, God as manifest in the physical world, it designates the justice of God, and means "the One who is the totality of powers, forces and causes in the universe". The Christian cross (or crux) is the best-known religious symbol of Christianity; this version is known as a Latin Cross. In Christian theology, God is the eternal being who created and preserves the world. Christians believe God to be both transcendent and immanent (involved in the world).Basic Christian Doctrine by John H. Leith (1 January 1992) pages 55–56Introducing Christian Doctrine (2nd Edition) by Millard J. Erickson (1 April 2001) pages 87–88 Early Christian views of God were expressed in the Pauline Epistles and the early creeds, which proclaimed one God and the divinity of Jesus.

The community's arms might be described thus: Per pale dexter argent a Latin cross sable, sinister vert the same of the first, in base an oakleaf palewise counterchanged. The community was formed out of two formerly separate ones in 1938, and it is for these that the two crosses stand. The Teutonic Knights’s cross on the dexter (armsbearer’s right, viewer’s left) side refers to that order’s commandry of Prozelten, which had holdings in Unteraltenbuch from 1317 onwards, and by 1329 was exercising blood court rights in this part of the commandry. In 1484, the commandry passed to the Archbishopric of Mainz and stayed in its ownership until the Old Empire came to an end in 1803. The silver cross on the sinister (armsbearer’s left, viewer’s right) side is taken from the arms formerly borne by the Charterhouse of Grünau and recalls the Charterhouse’s lordship in Oberaltenbuch beginning in 1657.

Morassi, La chiesa di Santa Maria Formosa..., p. 11 But little remains today with the exception of a reduced section of the perimeter wall, parts of the prothesis and the diaconicon, and the chapel. Given its form and relationship to the principal basilica, as well as the similarities with the fifth-century Mausoleum of Galla Placidia in Ravenna, it is believed that this chapel was probably built as a tomb: a seventeenth-century description records the presence of the sarcophagus of a bishop.Morassi, La chiesa di Santa Maria Formosa..., p. 20 The chapel, constructed in rough stone with brick vaults, is in the form of a Latin cross with an apse that is polygonal on the exterior and semi-circular within. Its principal façade has been modified over time, only the arch above the central window being original to the early structure. But the remaining exterior walls are preserved.

William Butterfield's original design for St Pauls Cathedral Interior Looking down central aisle aspect and spire The plan of St Paul's is a traditional Latin cross, with a long nave, side aisles, short transepts, a tower at the crossing, with choir below, sanctuary and altar beyond, and a pair of towers framing the ceremonial main entrance. The interior stonework is a mixture of sandstone from the Barrabool Hills and Waurn Ponds limestone, with contrasting stripes of Victorian bluestone, giving the cathedral a warm colouring, when most other grand 19th century public buildings are faced in light grey sandstone imported from other states. It is also quite different in appearance to the bluestone Gothic of St Patrick's Roman Catholic cathedral on the eastern hill of the city. Because the spires are built from Sydney sandstone and are 40 years newer, they are a different and darker colour than the older parts of the building.

The names of those killed in the First World War are listed on the outer wall of the cloister, on tablets of Hopton Wood stone; each of the outer walls bears a pair of large tablets, eight in all, each comprising six smaller panels listing the names. Within the cloister is a garden designed by Gertrude Jekyll, with roses and white lilies, and four grass lawns separated by paths leading to a central memorial cross made by the sculptor Alfred Turner, with a wheel-headed Latin cross supported by an octagonal shaft on an octagonal plinth with three steps. To either side of the cross is the carved figure of a crusader knight. Baker had proposed a similar design of wheel-headed memorial cross to the Imperial War Graves Commission (now Commonwealth War Graves Commission), but a different design by Sir Reginald Blomfield was selected instead: the Cross of Sacrifice familiar at many CWGC cemeteries.

From the late 15th century, semicircular arches became preferred in Milan, but round domes were less successful due to structural difficulties compared to those with pointed profiles. Domes in the renaissance style in Florence are mostly from the early period, in the fifteenth century. Cities within Florence's zone of influence, such as Genoa, Milan, and Turin, mainly produced examples later, from the sixteenth century on. De re aedificatoria, written by Leon Battista Alberti and dedicated to Pope Nicholas V 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. Under Pope Nicholas V, construction started between 1451 and 1455 on an extension of the old St. Peter's Basilica to create a Latin cross plan with a dome and lantern 100 braccia high over a crossing 44 braccia wide (about 24.5 meters wide).

The coat of arms consists of an escutcheon, bleu celeste, charged with an eagle, or, facing dexter (similar to the historical region of Wallachia), crowned, bleu celeste, blazoned langued and armed, gules, with a Latin cross in its beak, standing over the motto PATRIA ŞI DREPTUL MEU ("The Homeland And My Right") on a scroll, tricoloured horizontally red-yellow-blue (colours of the Romanian national flag). The eagle holds in its dexter claw a sword, in its sinister a sceptre, Tenné, and on its breast an escutcheon, gules, with thin bordure, azure, charged with the image of Saint Dimitrie Basarabov holding, dexter, a spear and, sinister, a Latin cross.Giurescu, p.350; Vasilescu The saint, who is the city's patron, is commonly referred to as simply Saint Dimitrie (Demetrius), thus bearing the same name as the 4th century Saint Demetrius of Thessaloniki—today's arms seem to represent the latter, as the person depicted is dressed in a Roman uniform.

The Dalí cross The tesseract (four- dimensional hypercube) has eight cubes as its facets, and just as the cube can be unfolded into a hexomino, the tesseract can be unfolded into an octacube. One unfolding, in particular, mimics the well-known unfolding of a cube into a Latin cross: it consists of four cubes stacked one on top of each other, with another four cubes attached to the exposed square faces of the second-from-top cube of the stack, to form a three-dimensional double cross shape. Salvador Dalí used this shape in his 1954 painting Crucifixion (Corpus Hypercubus) and it is described in Robert A. Heinlein's 1940 short story "And He Built a Crooked House".. In honor of Dalí, this octacube has been called the Dalí cross... It can tile space. More generally (answering a question posed by Martin Gardner in 1966), out of all 3811 different free octacubes, 261 are unfoldings of the tesseract..

The German blazon reads: Unter goldenem Zackenschildhaupt und über goldenem Bogenschildfuß (Berg), darin ein roter Drachenkopf, der mit einem roten Kreuzstab bedeckt ist, in Rot fünf (2:1:2) silberne Kugeln, begleitet rechts und links von je einer goldenen Gleve. The municipality's arms might in English heraldic language be described thus: Gules five plates, two, one and two, between two glaives Or in fess, the whole between a chief indented and in base a mount of the second, the latter charged with a dragon's head erased surmounted by a Latin cross of the first. Ormont and the outlying centre of Neuenstein belonged in feudal times to the County of Manderscheid. The “chief indented” – the stripe across the top of the escutcheon with the sawtooth lower edge – is a reference to the arms borne by those counts, whose arms were actually charged with a fess dancetty of four (see the article about the county to see the Manderscheid arms).

The Basilica-Cathedral of St. John the Baptist is built in the form of a Latin cross and in the Lombard Romanesque style of a Roman basilica. It was designed for Bishop Michael Anthony Fleming by the architect of the Danish government, Ole Joergen Schmidt, resident at Altona on the Elbe (Hamburg) though Fleming also had some plans prepared by the distinguished Irish architect John Philpot Jones of Clonmel, County Tipperary, Ireland, and also consulted with James Murphy, a native of Dublin, Ireland on plans for the cathedral. Construction was initially supervised by the Waterford contractor Michael McGrath, but later superintended by stonemason and sculptor James Purcell of Cork, Ireland, who also designed and built a small wooden church, Christchurch, at Quidi Vidi near St. John's. Construction took place under the watchful eye of the Irish- born Bishop Michael Anthony Fleming, the Vicar-Apostolic and first Bishop of Newfoundland and later under the eye of his successor, Bishop John Thomas Mullock.

Flagler was a life-long member of the Presbyterian Church, and upon his daughter's death chose a plot of land on the corner of Sevilla and Valencia Streets, which was very near his hotels, to construct a new church building for the Presbyterian congregation in St. Augustine, the first in Florida. The building, the land it sits on, and the parsonage at the time were all donated to the Presbyterian Church and exchanged for land they owned on St. George and Hypolita Streets (Flagler would later build a Municipal building for the city on this site). Like Flagler's other St. Augustine buildings (the Hotel Ponce de Leon, the Hotel Alcazar, and Grace United Methodist Church), Memorial Presbyterian was designed by John M. Carrere and Thomas Hastings of Carrere and Hastings architecture firm in New York; however, it greatly differs in architectural style. The Venetian Renaissance style and Latin cross-shaped sanctuary was inspired by St. Mark's Basilica in Venice.

The cathedral lies three feet below the square. After the earthquake of 1851, the cathedral was damaged and the restoration work led to an expansion of the Latin cross, as well as the reconstruction of the facade in local tuff with three portals, each corresponding to the aisles. The chapels contain in order: a baptismal font, a fresco, an altar dedicated to Our Lady of the Fountain (protectress of Canosa) whose icon came after the First Crusade, in the adjacent Mausoleum of Bohemond, the wooden statue and a painting of Alphonsus Maria de Liguori, and the tomb of Blessed Father Antonio Maria Losito (1838–1917). The left aisle houses the tomb of the Bishop of Lecce Archbishop Francesco Minerva (1904–2004) following three chapels: one containing the relics, chalices, crucifixes, and a silver bust of the saint enclosed by an iron grating, and the other dedicated to St. Anthony (but with canvas representing St. Francis of Assisi), the third devoted to St. Anne.

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).

Plan from Dictionnaire raisonné de l'architecture française du XIe au XVIe siècle, by Eugène Viollet-Le-Duc, 1856 The basilica is one of the five Romanesque churches in Auvergne known as the "greater" churches (majeures), the others being the church of Saint- Austremoine in Issoire, the Basilica of Notre-Dame of Orcival, the church of Saint-Nectaire, and the church of Saint-Saturnin. Built of arkose, a sort of sandstone, the building has an almost perfect harmony supposedly resulting from the application of the ratio of the Golden Number. The church is built on a Latin cross ground plan with a nave of six bays between two low side aisles with simple vaults. There is a transept with a semi-circular chapel on each arm, and a quire surrounded by an ambulatory from which open four radiating chapel, none of them on the main axis, thus forming a chevet, which with its fine mosaics is a notable example of the Romanesque art of Auvergne.

The large boulder that shelters the retables of the church and niche dedicated to Our Lady of the Grotto The church/sanctuary is located in an isolated rural environment of Quintela, on the mountain of the same name, over an accented rocky plateau, near the mouth of the Ribeira de Gradiz. The sanctuary is actually erected on a slightly sloping ground, over a large granite pediment. The site includes four rock crosses, referred to as Miradouros which are oriented towards the four cardinal points: the northern cross, called Forca dates to 1672, and is dedicated to Saint James; to the south, is Aguiar da Beira, situated around away, and dedicated to Saint Dominic; in the east, Trancoso dating to 1626; and to the west, Lamego, dedicated to Our Lady of Piety (), situated away, and which includes a pillar surmounted by a niche, with the image of the Virgin Mary. In front of the main facade is a granite cross over a rectangular platform, and two orders of plinths, surmounted by Latin cross.

The Ship Master was named Robert Batten. One voyage in May of 1638 carried 61 settlers from Southampton, England, leaving before 12 May 1638 in which they were “some Dayes gone to sea”, to "Newengland", all one word. The ship's passenger destinations included: Newbury, Weymouth, Wells, Maine, Newport, Salisbury, and Charlestown."The Planters of the Commonwealth in Massachusetts" by Charles E. Banks No verified details of this merchant ship, its age or fate is known other than "Beuis(t) of Hampton of CL. Tonnes". This translates to “Bevis of Hampton, 150 tons.” The (t) was actually a footnote reference symbol in the form of a Latin cross (✝️). The “burthen” or weight bearing capacity of cargo of the Bevis was 150 tons. This does not mean the ship weighed only 150 tons because it more likely weighed three times (450 gross weight) or more of its cargo capacity.The Passenger List of The Bevis (1638) Many of the three masted merchant ships traveling across the Atlantic Ocean about this same time period were in the 450 to 650 ton range.

United States, against the U.S. Department of Education, brought by the National Emergency Civil Liberties Committee re: magnet schools in the Math/Science bill. He is currently one of the plaintiffs in a case that started in 2014 as American Humanist Association et al v. Maryland-National Capital Park and Planning Commission, a federal lawsuit on appeal to the U.S. Supreme Court that is aimed at removing a 40 foot tall Latin cross on public property in Bladensburg, Maryland.MEMORANDUM OPINION by Judge Deborah K. Chasanow on the Justia website (accessed October 13, 2016)"Humanist Group Appeals Lawsuit Against Bladensburg Cross Monument" on the American Humanist Association website (accessed October 13, 2016)"War memorial or religious symbol? Cross fight reaches U.S. high court" on the Reuters website (accessed February 27, 2019) Edwords was named Rationalist of the Year by the American Rationalist Federation in 1984, received the Humanist Pioneer Award of the American Humanist Association in 1986, was named a HumCon Pioneer by the Alliance of Humanist, Atheist, and Ethical Culture Organizations of Los Angeles County in 1992.

Excavated mosaic pavement The most significant find is the great mosaic which paved all of the basilica, it was found in the left nave, in most of the middle nave and also in the right nave. There are different designs next to each other, among which, next to the usual four leafed rosettes and nods in circles or octagons (accompanied by Christian symbols like a Latin cross and a goblet), is the especially intricate coats of arms with lozenges inscribed between them that take up most space in the middle nave; in it, an epigraph with the names of 14 sponsors is inscribed. The image of a peacock is of remarkable quality between (?) the emblem in the center of the adjacent panel with the name of the sponsor Obsequentius. The motifs of the pavement belong to the usual repertoire of the era of the Roman Empire (Solomon's nods appear in Florence in the mosaics of the building underneath the baptistery) and the juxtaposition of different panels is found in many other examples in the Adriatic area.

The basic form is that of a Latin cross with a lump of Egyptian quartz mounted at its centre, 44.5 cm high and 30 cm wide with a cedar core,Beukers records in note 666 the exceptional significance of cedar wood in the Medieval context since it was "exceptionally unusual" western goldwork and states that it achieved an "almost relic-like position" on account of its extreme rarity in the west. He also considers the wood's origin to be the Mediterranean, probably coming to Germany as part of the dowry of the Byzantine princess Theophanu and thence to the Ezzonids by inheritance, either being recycled from an earlier artefact or brought in raw form for "subsequent manufacture." decorated on both faces and the edges. On the edges there is an inscription, originally worked in gilt silver, but now largely lost, which identifies Theophanu as the Stifter (donor). From the fragments a portion, at least, of the text can be reconstructed: EDITA REGALE GENERE NOBILIS ABBATISSA THEOPHANU HOC SIGNUM DEDITCited in Leonhard Küppers, Paul Mikat, Der Essener Münsterschatz.

The War Memorial () is a memorial obelisk in Floriana, Malta, which commemorates the dead of World War I and World War II. It was inaugurated on 11 November 1938 by Governor Charles Bonham-Carter to the memory of those killed in World War I, but in 1949 it was rededicated to those killed in both world wars. The monument was designed by Maltese artist Louis Naudi, who was influenced by Antonio Sciortino. According to Mark G. Muscat, the War Memorial "is possibly the sole example of a work of art in Malta which up to a certain extent illustrates the idea of Futurism put forward by Marinetti and Sant'Elia in Italy... Naudi deserves credit for his successful attempt at breaking away from the British colonial architecture that was commonplace at the time... It would be more plausible to classify the War Memorial as an Art Deco stylistic expression... as an avant-garde aesthetic applied to hardstone construction, which gives Naudi's towering design an imposing look." The monument is an obelisk in the form of a Latin cross, and it is built out of local globigerina limestone.

For the overall design of the church, architect Louis Muller (1842–1898) drew his inspiration from the Elisabeth Church of Marburg, although he did not slavishly copy its design, gracing St. Paul's Church with three large and elaborate rose windows modelled on the (smaller scaled) rose window adorning the façade of St. Thomas' Church. The high nave was originally supposed to have four bays instead of three and thus the building to be longer and shaped like a Latin cross; but because of excessive costs due to technical difficulties with the foundations, it was shortened to a Greek cross.L’architecture du bâtiment , on the parish's website Thanks to its spires rising up to and its spectacular location at the southern extremity of an island in the middle of the largest section of the Ill River, the church can be seen from far away. The church furnishings were damaged from British and American bombing raids in August 1944, as well as, as far as the stained glass windows are concerned, from a violent hailstorm in 1958,Les vitraux on the parish's website incidentally the same hailstorm that destroyed most of the Botanical Garden's historical greenhouses.