Last summer, the church dedicated a special altar in the narthex for people to pray.
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On the main floor, the church has also shown art installations and commissioned a mural for the narthex walls.
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Measuring 65,000 square feet, it will include a traditional narthex, courtyard and numerous shared spaces intended to maximize interaction.
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On Twitter, witnesses to the conflagration believe the flames may have ruptured Notre-Dame's famed rose window above its narthex.
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I find that crossing the narthex of a cathedral is like starting a great book: You simply aren't in your home world anymore.
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Whatever the reason, I find that crossing the narthex of a cathedral is like starting a great book: You simply aren't in your home world anymore.
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The Church and Hall Accommodation were refurbished during 2012/13. The original galleried interior was transformed by the removal of the side galleries, the downstairs pews and the now redundant pipe organ. The original narthex area has been enlarged and a glass wall inserted linking the sanctuary to the narthex. A disabled toilet has been installed in the narthex.
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A deep narthex was entered by a single central door.
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Ministry of Culture Mersin branch page The Masjid has a square plan and is covered by one big dome. The narthex has three openings and is topped by three domes. A sarcophagus is situated in the narthex.
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The narthex is supported by octagonal piers at the corners and two granite columns between them. On each side of the narthex is a lancet window. Above the narthex is a large rose window, with a lancet window above, and a cross finial on the gable. The church is recorded in the National Heritage List for England as a designated Grade II listed building.
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Probably built under Emperor Anastasius I (491–518), the Red Church originally measured . The northern wall, the best preserved, reaches around in height. The church features four semi-domes, a narthex and an outer narthex (exonarthex). The symmetry of the building is disrupted by a baptistery with a piscina attached to the northern wall of the narthex and a chapel located under the semi-dome of the church's south side.
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Apart from the main church Khujabi monastery consists of narthex and several ruined buildings.
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The Endo-Narthex, located between the Narthex and the Nave, is the site of the confessionals. The design for the four stained-oak confessionals was inspired by a traditional precedent seen in Italy by Bishop Michael Burbidge, updated to accommodate modern norms.
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The mausoleum was once connected to the narthex of Santa Croce, but now in ruins.
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It was fully restored in 1974 and is now on display in the church's narthex.
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Also under the gallery is the baptistry, which cuts a square area out of the pew space on the north side of the nave. There is a narthex separating the nave from the west door. Staircases on either side of the narthex lead to the gallery. Outside and on the south side of the nave is a single cloister which connects the narthex with the hallway leading through the center of the church campus.
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Shortly after the church was built, narthex was upgraded to the temple which had a length of 4 meters of internal space, but because of deviation of the northern wall the width of narthex is unequal. narthex has 4.6 meters in length by facade and approximately 4 meters from the west side. The walls, of original narthex, was 0.8 to 0.85 meter thick, shallow grounded about 0.3 meters deep, therefore its preserved only in parts. Under later rearrangement, the significant part of the south wall was vanished and destroyed and the central part of the west wall along with a last of the entrance was also destroyed.
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Telšiai: the Sacral Ensemble on Insula Hill. Vilnius:Vilniaus dailės akademijos leidykla, 2008, p. 49 In 1802 renowned Vilnius architect Jan Boretti obliged to construct two towers and a narthex. However, due to unknown reasons he built only the narthex and failed to complete the work of towers.
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The church was constructed of stone masonry under a tiled roof. Its front exterior includes a bell tower attached to an independent narthex. The narthex is structurally attached to both the nave and an adjacent monastery building. An apse is located at the nave's east end.
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The porch encloses a narthex that is richly polychromed (a later restoration). All four sides of the narthex have portals, the jambs and archivolts of which are decorated with sculptures. The second stage of the porch features a complex tracery balustrade with heraldic shields and blind round arches framing the pointed arched windows. Within the narthex, the ribs are completely decorated with sculptures and the main entry to the church features a tympanum showing the Nativity.
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At the base of the Narthex windows are twelve shields which echo the theme of each window.
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The sanctuary was remodeled in 2004-2005. The renovation featured a larger gathering space in the narthex.
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Van Millingen (1912), p. 113. The outer narthex is divided into five bays, the three central corresponding with those of the inner narthex. The central bay is covered by a central saucer dome resting on pendentives. It is separated by the two intermediate bays by columns set against pilasters.
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The mosque is a single-dome, quadratic-plan building having stone masonry walls. The inside of the dome is decorated with hand-carved figures. Marble columns and capitals support pointed-arches of the narthex in the architectural style of the classical period. The narthex is topped with five domes.
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Both the internal and external forms of Orthodox churches are designed in imitation of heaven. The internal layout consists of three main parts: the narthex, nave and altar. The royal doors divide the narthex from the nave and the iconostasis divides the nave from the altar. The narthex or porch is the entrance to the church building and not yet the actual 'church' proper, and is a small open space often with some candles to buy before entering the church itself.
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The upper level narthex and galleries have five domes, with the middle dome of the narthex an open lantern. This Greek-cross octagon design, similar to the earlier example at Daphni, is one of several among the various Byzantine principalities. Another is found in the Hagia Theodoroi at Mistra (1290–6).
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It had three apses; 26 meters long and 13 meters in width, each separated by a column. The narthex was positioned on the western entrance, while the southern side obtained a steeple, from which only few steps still remain. The narthex allegedly contained a sarcophagus quite possibly of a Croatian king.
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Dmanisi Sioni. A prominently protruding apse on the east. Dmanisi Sioni. The narthex with Georgian inscriptions above the entrance.
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On a projecting pediment above is a carved datestone. There is a single casement window in the narthex to the north of the door. Above the narthex, in the nave's gable field, is a large round window. The side elevations of the building have six pairs of lancet windows, separated by wall buttresses.
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In the cathedral's narthex are the graves of four bishops of the Dorostolo-Cherven diocese: Grigoriy, Valisiy, Mihail, and Sofroniy.
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The vault is semi-cylindrical. A narthex was added in 1864 with entrance to the north and five arched windows.
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The edifice has a narthex to the west and a sanctuary to the east. The central bay of the narthex is covered by a dome, the two side bays by cross vaults. The nave is partitioned by four piers, which substituted in the Ottoman period the original columns.The same happened in many other byzantine churches.
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All the visible wood in the chapel is oak, including its entrance doors, each of which weighs 800 pounds. The reredos, choir stalls, chancel rails, pulpit, lectern, and narthex screen are of English pollard oak. The pews and narthex ceiling are of Appalachian Mountain oak. Wood carvings were done by Irving and Casson, A.H. Davenport Company of Boston.
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Suger's western extension was completed in 1140 and the three new chapels in the narthex were consecrated on 9 June of that year.
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The building of church towers, replacing the basilican narthex or West porch, can be attributed to this late period of Anglo-Saxon architecture.
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The narthex across the West End was added in 1895, and removed in October 2006 to make way for an extension on the west end of the church. The church room was built in 1967. On 2 October 2006 work began on an extension to the west end of the church. The narthex was removed and foundations laid for a two-storey extension.
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The central space is dominated both externally and internally by one of the largest domes in the world. The entrance is through a narthex, or entrance hall, which stretches across the building. One of the decorated bronze doors leading from the narthex is the Holy Door, only opened during jubilees. The interior dimensions are vast when compared to other churches.
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To the right and left of the entrance, in the Narthex, two shields represent the Old and New Testaments with the Pentateuch and the Bible.
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However, the narthex was painted in 1854. North of the narthex (liti), there is the chapel of the Forty Martyrs of Sebaste in which there is the grave of Athanasius. South of the liti, there is the chapel of Saint Nicholas, painted by Franco Cantellano, in 1560. The trapeza opposite the central entrance has a shape of cross and is the biggest on Mount Athos.
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This church is in the area adjacent to the closed military zone on the Green Line. It dates from the 17th century. The narthex on the west part of the street that gives access to the main entrance door opens onto the south of Ayios Georgios. Search the east wall of the narthex relief in the form of ornaments, has an altar in the eastern apse.
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Built before 1207, the it catered to both temples at the same time. It contains a door which led to the communion bread bakery, a small vaulted room. The decoration of the narthex is subordinated to the artistic features of the main temple, which shows especially clearly in ornamental carving. The western portal has, like that of Geghard narthex, a stepped framing which includes the window above.
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Along the sides of the church the bays are separated by buttresses. On the north side each bay contains a narrow lancet window, and along the south aisle the windows are Perpendicular. At the west end, the narthex has a lean-to roof, and contains a gabled doorway approached by three steps and flanked by two rectangular windows. Above the narthex is a large rose window.
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These qualifications include how big the temple should be. Interior of Agios Minas Cathedral, Heraklion The church building is divided into three main parts: the narthex (vestibule), the nave and the sanctuary (also called the altar or holy place). The narthex is where catechumens and non-Orthodox visitors were traditionally asked to stand during services. It is separated from the nave by "The Royal Gate".
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The main façade of Évora Cathedral, built with rose granite, resembles that of Lisbon Cathedral. Its two massive towers, completed in the 16th century, flank a narthex (entrance gallery) which encloses the main portal. Over the narthex there is a huge window with Gothic tracery that illuminates the interior. Each tower has a different conical spire, one of them covered with mediaeval coloured tiles.
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Mosaic of the Virgin Mother with child, north dome of the inner narthex Mosaic of Christ Pantocrator, south dome of the inner narthex The esonarthex (or inner narthex) is similar to the exonarthex, running parallel to it. Like the exonarthex, the esonarthex is 4 m wide, but it is slightly shorter, 18 m long. Its central, eastern door opens into the naos, whilst another door, at the southern end of the esonarthex opens into the rectangular ante-chamber of the parecclesion. At its northern end, a door from the esonarthex leads into a broad west-east corridor that runs along the northern side of the naos and into the prothesis.
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The main, west door of the Chora Church opens into the narthex. It divides north-south into the outer, or exonarthex and the inner, or esonarthex.
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The narthex has stone columns with arches and cupolas. The cloister is absent as it has been destroyed, but there are still signs of the original one.
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Painting of the church by Vardges Sureniants, 1879 The church was dilapidated and abandoned by the early 17th century. According to an inscription on the western façade, the church was renovated by Catholicos Philipos, in 1653. Under his commission an open narthex (gavit) was erected in front of the western entrance. A bell tower was built on the narthex in 1790 under the commission of Catholicos Ghukas I of Karin.
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First Presbyterian Society of Cape Vincent, also known as the United Church of Cape Vincent, is a historic Presbyterian church located at Cape Vincent, Jefferson County, New York. It consists of a main block (1832), wood-framed narthex and tower (1884), and meeting hall (1959). The main block is a 1 1/2-story, Federal style limestone structure. The 2 1/2-story narthex has Gothic Revival style design elements.
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There are two niches on the left and the right walls and another small semi-round niche on the northern niche. The church used to have a vault which was replaced with eaves during the reconstruction. A covered narthex was added in the 18th century and in 1926-1927 a new narthex with refectory was constructed. The walls of the church are 0,70 m thick and are made of stone.
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The western (narthex) wall survives almost intact, while the other walls are known by way of excavations. The western part of the church was separated from the naos, forming a narthex, flanked by a baptistery on the north and a projecting tower on the south. The tower contained the winding stairs leading to the gallery for the ruling prince, his family, and guests. The foundations of the apses of Monomakh's church.
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The narthex (son cemaat yeri), situated in the northwestern side has three arches to the front and one arch to each side. It was built of regular cut stone. However, the rest of the mosque was not built using the same material, but was built using irregularly cut stone and rubble fillings instead. There are two inscriptions on the arched entrance from the narthex into the prayer area (harim).
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Within the north and south narthex two small chapels will be created. The narthex to the main entrance in the west is 2 m longer and has four more columns than the other two. Above the narthexes are three galleries with the one of the west side assigned to the church choir. As of 2019 the marble iconostasis is in work and will have six main icons and three doors.
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As a principle the main entrance was located to the west. After the doorway followed the pritvor (narthex), the naos and the altar. A small rectangular bell-tower sometimes rose above the narthex ("St Dimitar of Solun" in Tarnovo, the Church in the Asenova krepost in Asenovgrad, the Church of Christ Pantocrator in Nessebar and others). The naos could be separated into naves (in the basilicas) with columns or pillars.
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A narthex was added in 1909 by George Frederick Bodley, and a sacristy was added in 1928 by Frederick Charles Eden. On 2 December 1940, an incendiary bomb set fire to the building, destroying the chancel and nave of the church. Only the tower, narthex, and sacristy remained standing. W. H. Randoll Blacking was the architect chosen to reconstruct the church, but, after much delay, he died before work could begin.
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Each of them has cross- shaped and octangular vaults. The stairs in the northern corner lead to the choir above the narthex, meant for nobility, women and singers.
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Sound-absorbing tile is mounted on parts of the wall and vault. Running west to east, the main sanctuary consists of a narthex, a gallery, a nave, two transepts joined by a crossing, and an elevated choir;Stillwell, p. 8. it seats almost 2,000. The building's southeast corner houses a vestry. Inscribed on the narthex wall facing the nave is "A Prayer for Princeton",Stillwell, p. 12. which as of 2008 was still used in services at the chapel. Another inscription, from Psalm 100, refers to Westminster Choir College, which holds its commencement ceremonies in the chapel. Two staircases on the east and west of the narthex lead to an upper gallery, which looks out upon the nave.
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The interior painting was remade between 1975 and 1977, including the votive portrait of the founder Mihai Racovita cehan vv and of his wife, Lady Ana. It is a church with three- apse church plane, with narthex overenlarged, with polygonal apses at the exterior and semicircular at the interior, with verandah on the west, with foiled arch archways on the columns of brick. It is guerdon by two massive derricks, octagonal, situated on the nave and the narthex. In the interior, the arching system is formed by two vaults flattened on the verandah, derricks by octagonal section on the nave and narthex, a semi-cap on the altar, it is holding on the vaults in relief.
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It was built and decorated in the 11th century. It must have been one of the most important churches in the region, attested by the architecture, the wall paintings, the sculptures, the two arcosolia with graves in the narthex and the inscription. The church is of the cross-in-square type, with a dome resting upon four built piers and a lower narthex on the west side. This type is rare in Naxos.
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Like most Coptic churches, the floor plan is made up of a narthex (forecourt), a nave with two side aisles, and a choir with three sanctuaries (haykal). Three rows of ancient marble Corinthian columns separate the northern and southern aisles and the nave from the narthex. A marble ambon is supported on four slender twisted columns. Across from the choir is a beam on which a modern painting of the Last Supper is affixed.
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The building itself is a three-bay blue granite structure with a steep gabled nave. On the east (front) facade is a narthex with an engaged bell tower on the southern end. It is topped with a steeply pitched slate roof, with a corbeled cornice and lancet windows below. The main entrance, a pair of heavy wooden doors in the center of the narthex, is framed by recessed columns with foliated capitals.
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After the creation of the complex Great Basilica, the function of these rooms was changed. By discovering the walls, architectonic plastic and floors were reconstructed electronically. Great Basilica, narthex mosaic - pomegranate tree The Great Basilica is a monumental building with a room of open porch colonnades, a room of exonarthex, one of narthex, two north annexes, and a room of three south annexes. The floors of these rooms have mosaics with geometric and floral designs.
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The outer narthex is in a very bad condition, meaning just the lower parts of the walls remain. This component was added later, as the church was probably part of an expanding monastery, which faced the problem of lack of space. But there has already existed an inner narthex, separated by two columns with lower arcs than the rest in the monument and by a different iconographic program.M. Georges Bošković: Deux Églises de Milutin.
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The dome has an umbrella-shaped roof, which is unique to Armenian churches. The Cathedral's important decorations include carved scenes from the Parable of the Wise and Foolish Virgins (Matthew 25:1-13). In 1250, Vache I's son, Kurt I Vachutian, built a narthex (gavit) next to the western wall of the Cathedral. The narthex is supported by four base pillars and features a central rotunda (added in 1274) that rests on twelve columns.
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It has a combination of exo- and eso-narthex leading into the body of the original church. This body, which is now an open courtyard, contains a nave flanked by two isles. They are being separated from the nave by long rows of columns with a returned isle in the west to define the eso-narthex. There existed atop these isles mezzanine galleries, as evidenced by the two rows of windows seen on the walls.
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The cathedral contains three organs: one is on a tribune above the narthex, another is in the north arm of the transept, and the third is in the choir rehearsal room.
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Both narthex and nave have barrel vaulted ceilings. The nave's ceiling walls are covered with rare, historic frescos dating from the 15th and 17th centuries. Its contemporary iconostasis includes modern icons.
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The interior of the church has a high ceiling, a balcony above the narthex, and white-painted features. The church was added to the National Register of Historic Places in 1993.
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The church is an original pre-Romanesque building. It is a single-cell church with small rectangular chancel to the east chancel. The recent excavations have shown that the original church had a rectangular narthex at the west end of the church, and this contained a large stone lined tomb for the founding figure of the church. When the narthex was pulled down, the Gothic arch which formed the entry at the west end was inserted.
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The edifice initially had two wall steeples (on the nave and narthex). Two smaller wooden steeples war latter added, above the porch and the altar. In 1900, the church roof burned in a fire and the wooden steeples were not rebuilt anymore. On the right side of the church narthex, in front of the sustaining pillars of the belfry, lies the grave of confessor Iosif, the founder of the monastery, who died on 28 December 1828.
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The narthex was added with the round-shaped stair tower from the north-west corner: it provides access to the choir loft on the second floor. The tower is crowned by the dome. In ancient times the narthex in honour of Onuphrius and St. Peter of Athos was arranged under the dome. To balance the design, the building is complemented with the third dome on the south-east corner; it also serves to provide extra light.
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The church is orientated with the sanctuary at the west end; the following description will use the liturgical orientation. Its plan consists of a three-bay nave with a south sacristy, a narthex at the west end, and an apsidal sanctuary. The narthex has two gables, each containing a diamond-shaped window, and a main entrance on the north side. The windows along the sides of the nave are paired lancets separated by artificial stone mullions carved with angels.
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The church has a single apse and a single nave, and it used to have three domes. The elongated main octagonal dome has been preserved, though the two other domes, which were positioned over the narthex, have not, as the entire narthex has been destroyed. The walls of the church were constructed out of rectangular stone blocks interchanged with two rows of red brickwork. More elaborate stone and brick patterns decorate the facade and the main dome.
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The interior is rectangular in plan with a center aisle. The semicircular apse at the south end of the building is partially cut off from the nave by banks of organ pipes at either side. A narrow rectangular open narthex at the north end with a small enclosed winder stair on the west wall leads to the balcony. The narthex is 10' x 44'8"; the nave is 60'6" x 44'8"; and the apse has a 22'4" radius.
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Inside, the walls are made of plaster with wooden wainscoting and trusses, while the floors are made of wood. A narthex at the northeast side of the building separates the main entrance from the nave. A gallery balcony runs along the front (northeast side) of the nave. The narthex and nave are separated by three doorways: a double door to the nave's center aisle and a single door to each of the two side aisles in the nave.
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The original 11th-century cross-in-square was expanded in the 14th century through the addition of a second narthex to the west (exonarthex, or outer narthex) and by a side chapel (parekklesion) to the south, used for burials.Ousterhout, Kariye Camii. The ultimate plans of many other Byzantine churches resulted from a similar diachronic succession of additions about a central, cross-in-square, core; for example, Kalenderhane Camii in Constantinople,Striker, Kalenderhane. Çanlı Kilise in Cappadocia,Ousterhout, Byzantine settlement.
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The southern part of the narthex contains the cathedral's gift shop. Above the narthex are two towers: one named for Saint Peter to the north and the other named for Saint Paul to the south. The north tower reaches to the roof of the nave, which is above ground level; the south tower is about taller, with the additional height having been built between 1982 and 1992. If the towers had been completed, they would have been about tall.
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The bell was taken out of service after drunken celebrants damaged its bottom edge with a blacksmith's hammer on July 4, 1872. The bell is now on display in First Church's narthex.
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In 1970, a major restoration of the church was accomplished. This included the addition of a narthex to the liturgical west, providing access both to the church and to a new basement.
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84 n. 26 Thus in its original location, the door probably also served for the education of the penitents, who were restricted to the vestibule (Narthex or "Paradise") of the churchbuilding during Lent.
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Behind the altar is a shelf on which is a tabernacle. In the south wall of the nave are the entrances to the sacristy and the confessional. The narthex contains a small chapel.
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But when the baptistry was built, this under-church was filled with rubble. The narthex is now open to the public. The belltower has six bells, the oldest one was cast in 1149.
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In 1971 the church was enlarged. After 2001, under pastor Paul Turner, the interior of the church was remodeled and a narthex added, along with a Reconciliation room, vesting room, and rest rooms.
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On the church's roof there are three tall wooden steeples. The interior consists of the porch, narthex, nave and altar. The narthex is separated from the nave by a massive arcade, and the lateral apses are hollowed in the thickness of the walls. The interior walls of the church and the iconostasis icons were painted in 1880 by painters T. Ioan and D. Iliescu, the same painters who painted in 1882 the walls for the Church "Dormition of the Virgin Mary".
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The arcades are of ashlar sandstone and comprise simple round columns with moulded caps surmounted by moulded arches. The ceiling is vaulted to the shape of a shallow pointed arch and clad with horizontal timber boarding and lined with several heavy timber pointed arched rafters. The clerestory is formed with groups of three pointed arched openings. A gallery at the western front end of the church is supported above the narthex on the arcade separating the narthex from the nave.
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The architect Tiratur built a square-planned gavit (narthex) west of Church of Surb Astvatsatsin (Holy Mother of God) in 1648. It functioned as a church during the 19th century, called Surb Gevorg. To the west of the narthex was a 17th-century three-arched open-air porch; to the north was Church of Surb Khach (Holy Cross); while to the south was the 17th-century Church of Surb Sion. Urartian cuneiform inscriptions were used as lintels on their western entrances.
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In January 1956 Sydney- based architects Edward R. Green & Sons prepared two plans for the extension of the Cathedral, including modification of the arch between the Nave and Sanctuary to open the view between the two spaces, construction of an annexe on northern side, North East Transept, Our Lady's Shrine, new confessionals, new east & north porches, a small door for children on the southern side of Nave, a new Narthex including war memorial plaques. Construction of a gallery above the new Narthex and development of a Baptistery in the base of the tower. These plans provided two alternatives for the size and location of the Narthex to be added to the William Street frontage of the building. The original plan was modified in 1957 and between then and 1960 various options were considered.
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The 1893 addition added one additional bay to the front of the building which includes a narthex area with a bell tower on the east side and a shorter tower on the west side.
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In the outer narthex is a three-meter-tall painting of Emperor Dušan with his wife, Empress Jelena. This subtle psychological study of a 40-year-old mighty ruler is Dušan's most commonly reproduced portrait.
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The narthex in honour of John the Apostle was erected from the north side in 1681. In 1699 a new, all-the wall- long narthex was constructed. All the mentioned outbuildings are joint with the interior by the broad arcs, hacked in the walls in the same period. The necessity to merge the mainspace with new outbuildings revealed a new problem: the old massive building was dipped under ground by its own weight, the level of floors in the old building and outbuildings were different.
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The north and south walls have a floor level with three arcades, a first level with three windows, and a second level with a window with three lights. On the southeast side, the three apses project boldly outside with three sides. The roof, the cornice and the wooden narthex, which replaced the old Byzantine narthex, are Ottoman. A cruciform font which belonged to the baptistery of the church and lay on the other side of the street has been moved to the Istanbul Archaeology Museum.
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The original sanctuary is now roofed with vaults of burnt bricks, originally it had a wood roof. The nave, isles, and the great south hall (lateral narthex) are now without a roof, originally they had wood gabled roofs with galleries atop the isles. The wall between the exo-narthex and the body of the original church is of limestone. The great wall that defines the western boundary of the current church is made up of red bricks which encase the original columns and arches.
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The church was built in the 14th century and restored in 1700. It had a single nave with a narthex. The western façade had two rectangular windows. The façades and the porches were whitened by lime.
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There was another entrance on the northern side: with a marble doorstep and a Roman architrave. The narthex, which was surely built before 1602, is a vaulted ceiling with a cupola and lunette in the middle.
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The bench tops were at ground level, the same level as the narthex. The only dating evidence came from a worn denarius coin of Faustina I (138-9 AD) found on top of one of the benches.
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Of its predecessor, known as "Vieux Saint-Vincent" (Old St. Vincent), there remain two towers, a narthex and a tympanum. The highly distinctive south tower, which is topped by a belvedere, serves as a symbol of Mâcon.
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There are two stone steeples on the roof (on the narthex and the nave), with semicircular shape, sitting on polygonal bases. The church has two lateral doors, on north and on the south of the porch, each with its own small porch and bulb shaped roof, and there is also another door in the deacon's wall (on the south side of the church). The interior has four areas: porch, narthex, nave and altar. Over the porch there is a special place, where the valuable monastery goods were kept.
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On its side are the figures of the Four Major Prophets, each bearing a roll with the text of their prophecies. The narthex was made by masters from Campione in the following century: it incorporates an older frieze portraying the Labours of the Months (late 12th century, inspired by that in the Baptistery of Parma). The four statues on the upper loggia, portraying the Madonna with Child and two bishops, are of the Tuscan school (1310). The columns of the narthex stand on two lions in Verona marble.
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Over the main door is a cartouche with the sculpted 1888. The main door opens to a small narthex, that corresponds to the perimeter of the tower, that extends to the windbreak. On either side of the narthex is a compartment accessible from the nave: opposite the epistole side is the baptistery and opposite it is winding staircase that leads to the high- choir and belfry. The choir, in wood, occupies the area at the front of the nave (over the windbreak) and is counter curved, protected by a guardrail of balustrades.
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The basilica of the bishop was built in two phases. It was started in the 4th century. After being destroyed by an earthquake, it was completed in the 5th century. It was a three-nave church with narthex.
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The western wall was demolished and the present narthex was built. The church was timber-roofed. The exterior is rich in design. The eastern and the western façades are crowned with pediments in the form of trefoil arches.
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The mosque has a polygonal minaret on a high base adjacent to the western wall. The underside of the minaret balcony is decorated with three lines of muqarnas. Minaret's entrance is next to the narthex outside the mosque.
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Kudryavtsev, p. 85 For these processions the Kremlin itself became an open-air temple, properly oriented from its "narthex" (Cathedral Square) in the west, through the "royal doors" (Saviour's Gate), to the "sanctuary" (Trinity Cathedral) in the east.
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The dome is in diameter and high on an octagonal drum of eight arches, with semi-domes at the corner arches and larger semi-domes joining the arches above the mihrab and the central bay of the narthex.
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Thierry, Jean. Eglises et Couvents du Karabagh. Antelais, Lebanon, 1991, pages 161-165 Those include umbrella-shaped dome, cruciform floor plan, narthex (often with stalactite-ornamented ceiling), and high-relief of a large cross on one of church’s walls.
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The cross arms are barrel-vaulted and the narthex has a vaulted ceiling and is divided into three bays. Two arcosolia, with now empty tombs, were built into the thickness of the north and south walls, opposite each other.
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Talbot (2001), p. 337 for laywomen with 15 beds attached. During the 14th century an esonarthex and a parekklesionThe parekklesion is a chapel leaning to the side of the church or of the narthex. were added to the church.
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The mosque underwent a major architectural change in the 19th century. It was decorated in the Ottoman Imperial architectural style and a narthex was added. The mosque is constructed in ashlar. A graveyard is situated east of the mosque.
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Thierry, Jean. Eglises et Couvents du Karabagh. Antelais, Lebanon, 1991, pages 161-165 Those include umbrella-shaped dome, cruciform floor plan, narthex (often with stalactite-ornamented ceiling), and high-relief of a large cross on one of church's walls.
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The church is constructed in ashlar stone and brick, with a tiled roof and on its exterior timber framing with rendered infill; its interior is brick-faced throughout. The church's layout consists of a narthex at the west end (comprising its narthex at ground level, and a two-level tower above), a three-bay nave with a south porch and a vestry projecting to the south, and a chancel. The projecting west front of the narthex has a central window with four casements and a two-light window on each side; above the window is a timber-framed gable, and the lower stage of the tower contains a bay window with four mullioned and transomed lights on the front and similar two-light windows on the sides; above the bay window is another timber-framed gable. The top stage consists of a brick belfry with louvred bell openings.
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In 1865, the church of Saint Demetrius was built. In 1924, an impressive external narthex with carved stonework was added. Two carved columns with elaborately carved capitals came from an older church. The church was decorated by Grigorios Papamalis in 1940.
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The mosque has no narthex. The minaret is situated on the northwest corner of the building. It was donated by Hacı Hafız Efendi of Arabacıoğulları, a notable family in Balıkesir. In the courtyard, two shadirvans and a tomb are situated.
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Freely 2004, p. 70.Hollis 2009, p. 21.Hurwit 2000, p. 293. A large central portal with surrounding side-doors was made in the wall dividing the cella, which became the church's nave, from the rear chamber, the church's narthex.
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Dark stained oak panels complement the similar pews. The west aisle leads to a chantry altar and aumbry. Behind it is the organ chamber. A wood screen similar to the narthex screen sets off the chapel on the east side.
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In the narthex are white marble busts of Thomas and Julia Ripley, and brasses to their memory. The three-manual pipe organ was built in 1888 by Wilkinson and Sons of Kendal, and was overhauled in 1988 by Corkhill of Keighley.
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Sparkhill Library - History of the building St John's Church, Sparkhill is the Anglican Parish church for the northern part of Springfield Ward. It is also home of the charity, Narthex Sparkhill. Also in the area is St Christopher's Church, Springfield.
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The towers protrude slightly from the northern and southern facades, but are flush with the western facade. On the northern and southern facades of the narthex, at the base of the towers, are stained glass windows, one on each side.
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By the 13th century, the narthex or porch embraced the western arm of the basilica on the three sides; when it was first built is uncertain but was probably the 13th century. Later the southern part was closed to obtain the Baptistery (14th century) and the Zen Chapel (16th century).Demus, 127 The narthex prepares the visitors' eyes for the atmosphere of the gilded interior, just as the Old Testament stories represented in its 13th-century mosaic ceiling prepare them for the New Testament decoration in the interior. The main subjects are Genesis and the life of Noah, Abraham, Joseph, and Moses.
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Two side annexes, on the south and north, respectively, are 9th–10th-century structures, containing a sacristy and prothesis, both with apses. Sometime between 1213 and 1222, in the reign of George IV of Georgia, a narthex was added on the western end of the basilica. The narthex is richly adorned with ornamental stone-carvings in relief and covered with a vault, supported by four pillars and arches; its all three facades, columns, and arches are faced with light green smoothly hewn stone slabs. To the north of the church stands a rectangular bell-tower, remodeled several times.
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The gavit, the distinctive Armenian style of narthex, appeared in the tenth and eleventh centuries.Medieval Armenian architecture: constructions of race and nation Christina Maranci – 2001 "Unlike Strzygowski, who stressed the importance of race and nation in the formation of architecture, ... Another structure at Ani also provided Baltrusaitis with an ogive — the narthex or gavit' located at the south side of the church." The first were located in the south of the Armenia in the region of Syunik. The type of construction changed during the twelfth and fourteenth centuries, as found in the monasteries of Saghmosavank of Haritchavank, or Hovhannavank Monastery.
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According to him, the monastery church was dedicated to St. Ascension of the Lord, built of stone and was vaulted stone ceiling. The roof was of tile, and by the altar and the nave of the church had a wooden narthex which was the tomb of Martyr Sinaita. The church was small in size, until the First Serbian Uprising, when the Turks to suppress the uprising, was demolished. The present church of the monastery Rukumija has a very simple form, a one-nave basis with narthex on the west and a semicircular apse on the east side.
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McDonald of Boston was also responsible for window designs here. Important furnishings include the East Howard Tower clock with two dials, the bell cast by Henry McShane and Company of Baltimore, MD, Hook and Hastings organ (disassembled now), and the “eagle lectern” carved by Kirchmeyer from cypress wood, which is no longer in the church. The exterior has changed little other than the red and blue slate roof being replaced with a rolled asphalt roof and a glass entry to the narthex was added. The narthex and other interior rooms have been covered with drywall and modern paneling.
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Tympanum above the door into the abbey church The abbey church is a three-aisled, Romanesque basilica on a cruciform plan, dedicated to Saint Nicholas, and consecrated in May 1128 by Bishop . It is entered from the narthex, which is called "the Paradise" and once contained a small chapel, at the west end. The tympanum above the narthex entrance, carved around 1150, shows Jesus Christ at its center, seated on a throne and wreathed in a mandorla and flanked by two angels. Two kneeling humans appear at the ends of the image; Adalbert von Zollern is the male figure.
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The frescoes flanking the altar show the deacons Laurentius, Euplius and Stephen, as well as St. Nicholas, the patron of the ground floor of the church – one of the most popular saints and the patron saint of sailors, merchants and bankers. The life of St. Nicholas is depicted in 18 scenes in the narthex (the second section of the church). The unknown artists included elements of contemporary life in those scenes, and many of the figures are quite realistic – especially their countenances. The lunette above the entrance of the narthex displays the Virgin and Child, St. Anna and St. Joachim, and Christ Blessing.
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The church shows clear influences from the workers who were called to build it, and which belonged to the Lombard and Pisane schools. The portico, inspired by French models, has a lower storey with three rounded arcades, two of which included mullioned window (the left one closed). The middle arcade leads to the narthex, which has six groin vaults supported by cruciform piers. On the narthex' right side is a staircase leading to the upper floor with three rooms, the central of which, provided with an altar, was the private chapel of the bishops of Bisarcio.
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The galilee porch at Lincoln Cathedral A galilee is a chapel or porch at the west end of some churches where penitents waited before admission to the body of the church. It was also where clergy received women who had business with them. The first reference to this type of narthex is most likely found in the consuetudines cluniacensis of Ulrich, or the consuetudines cenobii cluniacensis of Bernard of Cluny, (See De processione dominicali). Since the definition of this type of narthex is ambiguous, this ecclesiastical structure can not be uniquely attributed to Cluny with certainty.
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The narthex is the connection between the Church and the outside world and for this reason catechumens (pre-baptized Orthodox) and non-Orthodox are to stand here (note: the tradition of allowing only confirmed Orthodox into the nave of the church has for the most part fallen into disuse). In monastic churches, it is usual for the lay people visiting the monastery to stand in the narthex while the monks or nuns stand in the nave. Separating the narthex from the nave are the Royal Doors (either because Christ passes through them in the liturgy, or from the time of the Byzantine Empire, when the emperor would enter the main body of Hagia Sophia, the Church of Holy Wisdom, through these doors and proceed up to the altar to partake of the Eucharist). On either side of this portal are large brass candlestands called menalia which represent the pillars of fire which went before the Hebrews into the promised land.
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This arrangement was not intended as the usual entrance for the congregation to the church, which was planned through two doorways from Ann Street providing access to an encaustic tiled porch with a concrete stair leading to the narthex, or outer chamber of the church auditorium. The narthex houses many fine architectural details including three stained glass panels in semicircular arched openings, supplied by FW Ashwin & Co. Three timber doors in the southern wall of the narthex provide entry to the auditorium. The church interior is in the traditional ecclesiastical cruciform plan, with shallow transepts formed at the southern end and expressed externally by the gabled projections to Ann Street and on the opposite side of the building. The body of the church is entirely open with a raked timber boarded ceiling, clad with ruberoid matting, and arched roof trusses which, like most of the joinery in the building, have been stained to a dark timber colour.
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The church was renovated in 1614. Its floor plan was cross-shaped, it had a rectangular shape in the outside. The dome, restored in 1663, was an octagon in the outside. A rectangular gavit (narthex) was built in 1555 by abbot Karapet Baghishetsi.
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The inner narthex is divided into three bays. The north one is covered with an Ottoman dome. The central one is surmounted by a barrel vault, while the south one is surmounted by a cross groined vault. The last two are Byzantine.
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Gavit of Geghard Monastery in Armenia (UNESCO World Heritage Site) A gavit (Armenian ) or zhamatun (Armenian: ) is often contiguous to the west of a church in a Medieval Armenian monastery. It served as narthex (entrance to the church), mausoleum and assembly room.
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The church was renovated in 2001–2002. It keeps the three-apse plan, with a semicircular altar apse and a belfry tower to the west. It shelters the tomb of its founder in a niche in the wall between the nave and narthex.
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Where the arcade meets the facade, it forms a "narthex" or wide portico of five arches, stretching across the front of the church. The arcade has a decorative cornice and circular moulding on the spandrels echoes the occular window in the facade.
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The projecting cornice was strongly articulated. The organ loft above the western narthex opened to the nave by a large triumphal arch. A similar arch on the sanctuary side framed the iconostasis which dominated the view of the interior.Budapest műemlékei I, ed.
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In the wake of the Ottoman conquest of Bulgaria Romylos was among the many Bulgarian intellectuals who emigrated to neighbouring Orthodox countries and brought their talents and texts. His tomb is in the church narthex of the Monastery of Ravanica, Serbian Despotate.
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In 1779, father Baghdasar vardapet decorated the narthex walls with frescoes of King Abgar V, Theodosius I, Saint Gayane, Hripsime, Khosrovidukht, and Gabriel. According to Murad Hasratyan, the unknown painter had fused together the styles of Armenian, Persian, and Western European art.
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The narthex is roughly octagonal, with four crosswise central vaults and niches in the corners. From the rest of the monastery, only portions of the surrounding walls and, to the north, the foundations of the monastery baths, datable to the 13th century, survive.
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There is a cast iron decorative finial at the apex. BOUNDARY: small squared sandstone wall with saddleback coping and modern railings and gate furniture. A Gothic pillar capital A Gothic arch corbel There is a galleried interior, narthex with flanking stairs to gallery. Boarded dado.
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Timber pews. Cast-iron columns supporting panelled gallery. Communion table in front of timber pulpit with stair access and timber Gothic panelled organ and case behind. A notable feature of the building are the vast array of stained glass windows adorning the sanctuary and narthex.
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It originally consisted only of naos and polygonal altar apse. In 1831-32 a narthex with the gallery was added to the object. The icons were mostly painted by Dimitrije Posinković in 1851. During the 1885-90 reconstruction, a wooden bell tower was built.
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The mosque has nine domes over six square columns each with the dimensions of . The narthex () has seven domes over ten columns. The pretentious public fountain () of the mosque is in the courtyard to the north of the mosque. The mosque has two minarets.
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High semicircular arches connect the lateral naves with the western arm. The narthex has two floors, with the lower floor being the portal and the lower the choir. The portal has been later divided into three parts. The church facades originally lack any decorations.
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The church follows the Byzantine cross-in-square design and measures . The dome is octagonal and features eight bays, four of which contain windows. There is no narthex and the cella appears square. A total of six pillars support the church from the inside.
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The alleged türbe (tomb) of Hazreti Cabir (Jabir) in the south apse. The building is wide and long, and has a domed Greek cross plan. It is oriented in a northeast – southwest direction. It has 3 polygonal apses, and the narthex has been destroyed.
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Also accessed off the narthex and atrium were two catechumena, flanking the basilica to the north and south, and a diakoinon to the north. The basilica was abandoned in the mid-7th century during the early Arab raids on the southern coast of Cyprus.
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At the northern end of the village of Ano Skotina is the church of Agios Athanasios. The main part of the church and the narthex dates back to 1656, the other parts of the building were added later. The church is known for its frescoes.
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The White Church is typical of the Raška architectural school. It has three bays and is topped by a cupola. The eastern part of the church has a semi- circular apse with a stone iconostasis. The narthex dates back to the late 19th century.
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These three works are dated to the mid 14th century. In the nave and the narthex there is a group of life size saints dated to the same period. On the northwest pier, there are two massive images of St. Theodore and St. George.
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The church was designed with complex basis, in three parts with three bell towers. Bell towers are basically open on four sides. A narthex and nave are in the form of an inscribed cross. The authors of the project were Ljubiša Folić and Radomir Folić.
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In the south chapel one finds the portraits of Nemanja, Stefan the First Crowned and King Radoslav with his wife Ana. On the north wall of the narthex, three dignitaries of the Serbian Church are portrayed - the archbishops Sava, Arsenije and Sava II (Radoslav's brother).
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The church proper, located on the northeastern corner of the property, is set on a platform reached from the street by a set of nine steps. The entrance leads to the narthex, to the right of which is a coatroom and to the left of which are stairs that lead to the gallery. Three doors connect the narthex to the church nave, one to the central aisle, the second to the side aisle, and the last to a low passage that connects the church with the Bible school. The church proper was designed to create a serene, spatial atmosphere and thus has a unique asymmetrical design.
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One dome rises above the western facade and it houses the bell tower. Since the plan did not foresee the choir apses, the church has an emphasized longevity of volume. Enough light does not come to the interior of the narthex through two narrow single windows open on the west wall, so that the main source of light comes from the opposite side of the nave, but in spite of that, the narthex is underexposed in certain parts of the day. In contrast, the nave is well lit thanks to a series of cupola windows and window openings in the form of trefoil and two single windows on the side walls.
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The architect who suggested the conversion of the once Ottoman mosque into a Christian church was the Russian Alexander Pomerantsev, responsible for the Upper Trade Rows on Red Square, among other buildings. The Bulgarian architects Yordan Milanov and Petko Momchilov designed the dome, the narthex and the bell tower in a traditional Bulgarian style, inspired by the movement of Romanticism. Only the central hall and the dome of the former mosque were preserved, with four oval bays, a narthex and an altar section being added. The construction works took a year, between 27 May 1901 and 6 May 1902, but the complete inner decoration did not finish until 1996.
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After 14 years of scraping pigeon droppings off the walls, these newly restored frescos, depicting scenes from the New Testament, are the best preserved in all of Cappadocia and a fine example of 11th-century Byzantine art. Part of the narthex or vestibule however collapsed opening part of the church's roof to the sky. This caused damage to the fresco with Christ’s Ascension and the Benediction of the Saints, whereas the other scenes only partially remain where the wall collapsed. The church's name possibly comes from a small oculus looking out of the narthex which only lets in a very small amount of light.
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The nave and sanctuary are within the one large space, with either side characterised by the regular rhythm of vertical windows surmounting paired doors (designed to be open for cross ventilation) separated by solid brick piers. A choir gallery is located above the narthex and is accessed via a narrow stair concealed behind a brick wall to either side of the entrance doors. The choir gallery has a brick balustrade with timber handrail, and stepped timber speakers/screens to either side. The gallery is supported by brick columns with low brick walls attached which separate the narthex from the nave and provide the entrance to the baptistery.
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Architect Hermann J. Gaul, a native of Cologne, and an admirer of the Cologne Cathedral, designed the church in the late Gothic Revival style.Bodenhamer and Barrows, p. 1180. St. Mary's follows a cruciform plan with a narthex and semi-octagonal apse. Its walls are dressed in stone.
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The complex consists of a spacious one-nave, one-apse church with an emporium (balcony), a triple narthex with a bell tower above it and a residential building. In the courtyard there is a huge centuries-old oak tree, estimated to be over 600 years old.
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There are deep galleries with concave balustraded fronts in the transepts and an organ gallery above the narthex. The sanctuary, in the chancel, is elevated and approached by steps. A round-shaped room is at the back of the building, added in 1902 by architect Clinton Day.
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The Fertőrákos Mithraeum is a temple to the Roman god Mithras at Fertőrákos in Hungary. The temple (known as a mithraeum), follows a typical plan of a narthex followed by the shrine proper that consists of a sunken central nave with podium benches on either side.
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The narthex on the western side and the arcade on the south were added a later time, probably in the fifteenth century when the building was under the Latin church. The irregular shape of the dome is perhaps due to damaged sustained during the 1222 Cyprus earthquake.
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It was constructed in 1838. There is a holy spring at the outer narthex. There is a stone fountain in the yard which was built in 1831. The monastery was established in 1020 by the Byzantine commander Nikephoros Xiphias who became governor of Plovdiv in 1018.
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Its central space was nearly a square, with two side courtyards. The narthex on the west side connects with the courtyards. The intervals between the columns separating the basilica's naves are closed off by balustrade slabs. The capitals resemble those at Hagia Sophia, also built by Justinian.
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Finley died on February 1, 1977 at his home in Georgetown. He is buried at Oak Hill Cemetery in Georgetown. In the narthex of the Washington National Cathedral is a memorial tablet to David Edward Finley and Margaret Eustis Finley, “Servants of God in Art and Charity”.
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The central portal is set between buttresses and the façade's central tympanum is filled with a relief sculpture of the Crucifixion. A frieze of blind arches flanks the doorway. Broad steps lead to the narthex. Gargoyles decorate the façade of the church at the entry portal and towers.
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It featured a large apse in the centre, flanked by two smaller apses. The middle nave was divided into two squares by four identical columns. The narthex, which lay in the church's western section, accommodated a diaconicon and a prothesis. A baptisterium was located in the church's southern section.
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The Imperial Gate was the main entrance between the exo- and esonarthex. It was reserved exclusively for the Emperor. The Byzantine mosaic above the portal depicts Christ and an unnamed emperor. A long ramp from the northern part of the outer narthex leads up to the upper gallery.
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The Church hosts the Armenian Church in Birmingham and a Persian-speaking congregation. It is the home of the charity 'Narthex Sparkhill' www.narthex.org.uk which received the Queen's Award for Voluntary Service in 2016. It was constructed in 1888St John's website which makes it one year older than Birmingham city.
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In this occasion also the columns of the south church were substituted with piers, and the balustrade parapets of the narthex were removed too. The building burned once more in 1918,Eyice (1955), p. 80. and was abandoned. During excavations performed in 1929, twenty-two sarcophagi have been found.
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The frescos include an Old Testament and a New Testament, Dogmatica, Lithurgy, Life of Saints, etc. Between the frescos is included a fresco of John Kukuzelis, the saint born in Durrës. In the narthex is present the Last judgement fresco. The iconostasis is wooden and polychromed in gold.
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Billy used ecclesiastical settings for the novels Bénoni, L'Approbaniste, Introïbo, and Le Narthex. He was inspired by the story-tellers of the 18th century for La Femme maquillée, L'Amie des hommes, Quel homme es-tu? and the essay Pudeur. For many years he was the literary critic for L'Œuvre.
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A small side-chapel, the Narthex, was dedicated on 26 April 1987 to the memory of Margaret Anne Hemsley, who had been a valued parishioner, active in the service of the community.Walters, R 1994, Parish of St. John New Town Tasmania: aspects of history, Parish booklet Unpublished, p. 11.
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Architecturally the central nave, also called the central aisle, is divided from the side aisles by arched columns. The church has a narthex. Two sacristies are connected by a passage behind the altar. The transept and the nave barrel vaults intersect forming a groin vault over the crossing.
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It may be accessed instead via an entrance from the narthex. The space is used for storage. It retains its original hardwood narrow-board flooring and gas chandelier of brass and frosted glass with a Greek key design. A ladder leads to the upper stages of the tower.
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The church consists of three parts. The central block is square in plan and comprises the nave. Two other blocks contain the double apse and the narthex. Between 1678 and 1711, the church was renovated: the interior was frescoed, the octagonal structures built up, and a new belfry appeared.
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The Cathedral is a brick masonry building designed in the Romanesque Revival style by Patrick F. Meagher. He would later design the Buchanan County Courthouse. It features a transept, two corner towers on the main façade with pyramidal roofs. The narthex, featuring three entrance doors was added in 1956.
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The tower was started in 1910 and completed the following year. It was the last major project to be undertaken by John Douglas but he died before it was completed. In 1920 a narthex with a west door, designed by W. D. Caroe, was added as a war memorial.
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He was shortly released from prison, but the guards had stolen his travel funds, so, in June 1159, he went to the hilly area above Paphos, where he found a cave that had been used by a previous hermit. He enlarged the space, eventually creating three caves known today as the Cell, the Bema and the Naos.The complex also includes the Narthex and the Refectory found adjacent to the principal caves as well as the Skevophylakion, the Ayiastyrion (which is the room for St. Neophytos sanctification and holy attendance) and the New Zion located above the Narthex and the Naos. Kakoulli (2009) Neophytos's life as a hermit attracted the religious in the area who brought him food and gifts.
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Behind the façade of St. Peter's stretches a long portico or "narthex" such as was occasionally found in Italian churches. This is the part of Maderno's design with which he was most satisfied. Its long barrel vault is decorated with ornate stucco and gilt, and successfully illuminated by small windows between pendentives, while the ornate marble floor is beamed with light reflected in from the piazza. At each end of the narthex is a theatrical space framed by ionic columns and within each is set a statue, an equestrian figure of Charlemagne (18th century) by Cornacchini in the south end and The Vision of Constantine (1670) by Bernini in the north end.
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The 14th-century Spitakavor Monastery was built by two princes from the Proshian dynasty during the Zakarid Armenia period. The construction of the church began by Prince Eachi (died in 1318) and completed in 1321 by his son Prince Amir Hasan II. Between 1321 and 1330, the narthex was built, and in 1330 Hovhannes Proshian and his wife, Tadzna, added a three-story bell-tower to the western wall of narthex. The monastery became an "important cultural, educational and spiritual center" under the guidance of Father Superior and Phililogist Vardapet Avagter. There were two other monasteries in the area, Tanade and St. Khach monasteries, and the three used fire signals to communicate in "ancient times".
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Interior of the cathedral St Monica's War Memorial Cathedral is located fronting Abbott Street to the northeast, between the Bishop's House to the north and St Joseph's Convent to the south, within a highly intact ecclesiastical group. In form, the cathedral consists of one large rectangular space of equal height which houses the narthex, choir gallery, nave and sanctuary. Single-storeyed side verandahs are partially enclosed in places to house a side chapel, confessionals, and entrance to the baptistery, with a single-storeyed vestry and sacristy structure at the rear of the sanctuary. The baptistery is a separate structure with a circular plan which is attached to the northern side of the narthex.
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Built by Thomas Bragg, Sr., it is a one-story, rectangular frame church, three bays by two bays, with a Greek Revival style interior. It features a projecting narthex and two-story tower topped by an octagonal steeple. It was added to the National Register of Historic Places in 1982.
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The church has a wooden narthex west of tower base, and a wooden sacristy east of the chancel. Parts of the walls of the medieval church are preserved. A legend about a dragon was connected with the old church. The legend is reflected in the dragon on Skiptvet's coat of arms.
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The church dates mainly from the 13th century and contains impressive frescoes and icons on its interior walls and ground from the 16th century. The paintings that dates from the 16th century were mostly produced by Nicholas Onufri, the son of the more famous Onufri. The church has a rectangular narthex.
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The brick building has a roof made of Welsh slate. It is constructed in an Early English style with "robust, muscular detail". The narthex to the west has an arched doorway on each side, with a gabled porch, and a large rose window. The aisles are divided into four bays.
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1057) and Hirsau Abbey (12th century). Construction included the narthex (1168) under Abbot Engelhard and the polygonal topping-up of the two eastern towers (1249) under Abbot Konrad. Since its establishment, the abbey had been a proprietary monastery of the Bishop of Würzburg. It thus did not have a Vogt.
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I-49 Frontage Road. Carencro's St. Peter's Catholic Church and cemetery form an artistic centerpiece of the town. St. Peter's Catholic Church has an ornate cypress-carved entrance, altar and narthex, as well as intricate pew end caps. The pews were once sold to parishioners to raise money for the church.
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The very entrance from the church begins with the narthex. In here, to the right and left are staircases to the choir loft. Immediately past this, there is a hallway to the right and a hallway to the left leading to the restrooms. Then, there is a set of doors into the nave.
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After the establishment of the Eparchy of Toplica in 1219, Stefan the First-Crowned built a narthex with two towers on the west side. The south tower was rebuilt. In the 14th century King Milutin built a chapel on the north side of the church. The interior is grand and has several rooms.
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A stone schoolhouse was built in 1858, which was used for church services until the stone church could be built. In 1864, work was started on the building of the stone church. The new church was completed and dedicated on September 27, 1868. A stone narthex was added to the building in 1941.
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Bo Church (Bø kyrkje) dates from ca. 1100. The church is in stone and has 200 seats. It was built in the Romanesque style, with long church plan and choir to the east. The sanctuary, choir loft and the apse are from the Middle Ages, whereas the narthex was built to the 1600s.
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The building has three polygonal apses. The central one belongs to the sanctuary (bema), while the lateral are parts of two clover-shaped side chapels (pastophoria), prothesis and diakonikon. The Ottomans built a stone minaret close to the narthex. The building was originally decorated with a marble revetment and mosaics, which disappeared totally.
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The Monastery was built in the 11th century on the foundations of a ruined 6th-century Christian church. Through the centuries, constant rebuilding has given the complex different architectural styles from different time periods, including early Christian, Byzantine, Lusignan, Gothic and Frankish. The present structure has two domes and a Gothic narthex.
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The characteristic feature is the presence of narthex and choir on the west. The church has three entrances, to the north, south, and west. Mounted above the northern door is a Georgian inscription in the asomtavruli script, first published by Marie-Félicité Brosset in 1851. Its rhymed text mentions Tamar, a donor.
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In February 1996 a fire gutted the church's interior. Christ Kamages of San Francisco served as architect for the renovation, iconographer Elias Damianakis of Florida and woodcarver Steve Kavroulakis of Crete, designed and built a new altar, sanctuary, narthex, iconostasion, and iconography. Metropolitan Iakovos of Krinis rededicated the church in June 1999.
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A case, it built in the Narthex of the Upper Church to house wooden statues for the Nativity, Resurrection and Crucifixion, that were carved by parishioner Gregor Betz.Photo of Monsignor James Mortimer in St. William's new kindergarten classroom (photo with caption). Philadelphia, Pennsylvania: The Inquirer, November 22, 1987, p. 518; subscription required).
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The oldest fresco is located on the external southern wall of the catholicon that now includes St. Anthony's chapel. It is of the Theotokos, turned to the left in prayer. Its sweeping brushstrokes suggest a 14th-century rural technique. The church and its narthex are decorated with frescoes, dating from the Ottoman period.
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To the left of the monogram there is a depiction of a blossoming plant twig with plants and birds. The composition is embellished with various geometric ornamentation. The narthex mosaic contains several small areas depicting fishes and birds. The entrance was embellished with the image of a fountain with birds on either side.
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The pews are made of oak and seat approximately 600 to 650 people. There is a hand carved statue of St. Joachim in the foyer, also a hand carved crucifix at the altar. The tiles in the Sanctuary are Florida earthstone and the tiles for the vestibule, narthex and church are Florida tile.
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An iron fence encloses the small churchyard, and a chapel has been added to the south wing. The tower forms a vaulted narthex at the main entrance in front. All walls there and within the chancel are white plaster, except around the altar. Its recess features marbleized Corinthian columns and gold paint.
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During the research of the church and its surrounding churchyard was noticed several construction phases in the lifetime of this sacred building through several centuries, where the oldest phase is construction of the feudal temple of St. Nikola which get a porch in next years and a whole ensemble is a vivid in 1331–1332. In the second phase, after the destruction of narthex and some time, on its place was built open narthex, in other words, ordinary porch. This upgrade is not precisely appropriated in time but it could be assumed that it is not younger than the end of the 16th century. The next two phases of extensions and upgrades can be reliably dated to the 18th century, rather before the 1796.
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It had been the intention to build the new church over the old church which would become the crypt; this meant the new church was to be raised well above piazza level, but this idea was abandoned once construction started. The original drawings are lost but it is thought that the Piazza Navona facade design included a narthex between two towers and broad stairs descending to the piazza.Magnuson T. Rome in the Age of Bernini, Stockholm, 1986, Vol 2, 56 Harsh criticism was made of the design, including the steps down to the piazza which were thought to project excessively, so Carlo Rainaldi eliminated the narthex idea and substituted a concave facade so that the steps would not be so intrusive.
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The complex included a narthex, arrayed along the western facade of the basilica, and peristyle atria to the west and north of the narthex. The northern atrium provided access to the episcopal palace to its west, or to the baptistery, diakoinon and catchecumena along the northern side of the basilica. The Diakoinon in the Basilica The precinct was constructed at the end of the fourth and very beginning of the fifth centuries CE, a time in which Kourion was recovering from the devastation of the earthquakes of 365/370. The allocation of such resources to this basilica, as well as the concurrent abandonment of the Sanctuary of Apollo Hylates, indicates the centrality Christianity had assumed to the city's religious institutions.
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The large, upper clerestory windows along the nave and chancel depict scenes from the Old Testament, while the smaller medallion windows along the walls of the nave aisles represent scenes from the New Testament. Both Old and New Testament images are present in the two large transept windows as well as the altar window. The windows of the narthex depict women of the Old Testament, and the small windows of the two small entrance halls on either side of the narthex contain six scenes from the life of Jesus painted in black on amber glass. The windows of the Memorial Chapel are made from silver-tinted grisaille glass, and those in the crypt are of purple glass framed in lead grilles.
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Author Annemarie Weyl Carr continues to depict early Cyrus churches in her journal, Byzantines and Italians on Cyprus: Images from Art: "The Western presence in medieval Cyprus presents itself today and has been studied largely in terms of the island's opulent Gothic architecture, rising amid minarets and palm trees in the Mediterranean sun. Astonishingly romantic, these building invoke an image of French courtly culture transposed to the Middle East" (Weyl 340). George and Theodor The architecture of The Church of St. Nicholas of the Roof is a domed cross-in square plan and gets its name from the second timber roof with flat tiles. Originally, there was no narthex or timber roof, which covers both the nave and the narthex.
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Two stone altars were uncovered which were decorated with scenes from the life of Mithras in reliefs and had dedicative inscriptions. The inner room and the narthex of the shrine was decorated with wall paintings. The frescoes are being restored by experts from the collected fragments. Their design were geometric with some figurative scenes.
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View of the dome interior The main surviving structure is the large main church (katholikon), a modified cross-in-square church. The building measures 23×17 m and is 17 m high. On its southeastern corner, there is a brick decoration with an eagle motif. The narthex on the western side has been destroyed.
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He excluded the galleries, which had helped seat the historically large congregations. This decision reflected the smaller contemporary congregations. The nave was designed as 46 ft (14m) taller in the new church. The positions of the organ and Refectory were changed; situated above the Narthex (entrance vestibule), they reduced the seating space within the church.
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The oldest church, dedicated to St Mary dates from the 10-11th centuries, but is mostly in ruins. In the 15th century the main church narthex was rebuilt by the local prince Zaza Panaskerteli. Its internal space was divided into three parts and decorated by frescoes. Among them also the unique depiction of Zaza himself.
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Above the western door of the narthex the imperial coat of arms of the House of Romanov stands as a reminder that the church was under the nominal protection of Russia from 1807-1917. Near the same area a painting depicts the saint touching the head of Constantius II curing the emperor from illness.
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In 2000 this organ was replaced by an electronic organ, and in the same year an electronic bell system was installed. During the following year, extra seating was placed in the gallery where the organ had been sited. In 2002 the entrance to the church was improved by creating a new vestibule and narthex.
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In 999 AD it was expanded with a gavit, a narthex or entrance to the church. In subsequent years the monastery was fortified with walls around it, under the orders of Abbot Petros (Peter). The monastery, which was damaged during an earthquake, was refurbished during 1965 and 1969. Further renovations were done during 2013.
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Therefore, their visit is only possible for monks and bishops who do not necessarily need to belong to the Coptic Orthodox rite. The crypt is about eight meters below the current ground level and consists of an anteroom, the narthex, and the church ship. Two stairs lead to a stone altar, the most holy.
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St Nicholas Church in Vukovo. The church is situated at 2 km to the south of Vukovo, municipality of Boboshevo, in a deep and hardly accessed dingle. It is a small one nave and one apse church without narthex and with a shallow arc on the western facade. Its dimensions are 4,43 x 2,75 m.
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The northern side altar almost exactly echoed the original size, having a unique in Siberia "twin" shape. After a few years, the western facade of the initial church and the northern side altar were put together with an outbuilding of a two floors combination of parvise and narthex, built in a neorussian-like style.
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The church is oriented five degrees from a perfect west–east orientation. The foundation of Lazarica is at an elevation of . Internal length, from the top of the altar apse to the west wall of the narthex, is . The western width of the nave is from and the radius of the apse ranges from .
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The present Gothic church was rebuilt in 1257 on the foundations of a smaller Romanesque chapel to a traditional plan with a nave and transept, and nine radiating chapels off the semi-circular ambulatory. The nave is preceded by a narthex flanked by two defensive towers. The main structure measures long, wide and high.
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Such extensive fresco cycles are rare features in Armenian architecture – it is believed that these ones were executed by Georgian artists, and the cycle also includes scenes from the life of St. Nino, who converted the Georgians to Christianity. In the narthex and its chapel survive fragmentary frescoes that are more Byzantine in style.
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400 Nevertheless, it is wider and airier than the church in Kolomenskoye with its exceptionally thick walls.Brunov, p. 43 The corridors functioned as internal parvises; the western corridor, adorned with a unique flat caissoned ceiling, doubled as the narthex. The detached belfry of the original Trinity Church stood southwest or south of the main structure.
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In the 1990s, the Orthodox Serbs, Ethiopians, Eritreans and Romanians in the St. Demetrios congregation each branched out to form their own parish. A second full-time priest was hired. The church building itself continued to well-maintained and even enhanced, with renovations to the narthex, additional icons and candlestands, and additional mosaics.Mootafes et al.
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The central nave is illuminated by windows that are on the lateral aisles. The cloister is on the southern side, as well as the narthex. There is no cloister on the western side. The yard of the church had walls, at the angle of which existed a bell tower, both of which have been restored.
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The church is constructed in bright red brick with stone dressings. The windows contain tracery in Decorated style. The plan of the church includes north and south chapels, the columbarium to the north, the baptistry to the northeast, and the narthex to the west. The interior of the church is lined with red sandstone.
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The narthex was added in 1882 and then a grand scheme was begun in 1906. Funds ran out before construction finished - thus we are left with a unique Cathedral (designated as such in 1920) with each phase clearly visible in the Cathedral you see today and our famous steel girders still supporting the incomplete vision of a grand structure.
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The church has a rectangular shape, with a wooden porch in the south-western corner. On the church's roof there are three tall wooden steeples. It was initially segmented in narthex, nave and altar but they added a wooden porch later, to protect the south-west entrance. The iconostasis is old, dating from the middle of the 19th century.
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There is no iconostasis. The nave was covered with a dome, but nothing of the dome remains today. The narthex, rebuilt in the 14th century, was the same width as the nave, with two rectangular rooms on the north and south sides. Excavations in 1951 showed that on the western side of the church were two towers without doors.
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It is still used as a reference point by river boat pilots. The belfry houses a bell connected to a rope which reaches to the narthex. Old St. Peter's features 34 stained glass windows, typical of Victorian art glass style. They were designed and installed by the Povey Brothers Studio in Portland, Oregon, including six rose windows.
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The present Romanesque and Gothic structure was first consecrated in 1107 or 1108, but a previous church from the 9th century stood on the site. The cathedral has a narthex. The interior has five naves, of which the central one is marked by tall polychrome columns rising two storeys. The ceilings are frescoed, sometimes sky blue.
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The main iconographic theme is the Second Coming. In the southeast corner of the narthex there is an interesting dedicatory inscription of John the Protospatharios. The inscription of a high- ranking Byzantine official is of wider importance, not only for the church, but also for the role of the region as an important administrative centre controlling the island's hinterland.
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To the west side of the monastery is the narthex, with chapels dedicated to St. John the Hermit and the Ten Holy Martyrs. There are some notable monsters carved in relief on the front of the church. A cave called Arkouditissa or Arkoudia, is also located in the vicinity. Here the goddess Artemis was once worshiped.
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From 1900 to 1901, the two towers and a narthex were added to the front of the church. They were designed by Thomas M. Cappon and built by William G. Lamond in the Art Nouveau style. In 1926, additions were made to the church, these were designed by Reginald Fairlie. These additions included multiple side chapels.
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The interior dates from 1882 and was designed to accommodate 1,000 people, but many pews have now been removed. There are two chapels, but these were later additions. The rood was originally plain wood and has only recently been coloured. Part of the rood screen has been moved to the rear of the church to form a narthex.
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Between the existing plane of the façade of the Obradoiro and the old Romanesque portal (Pórtico da Gloria) there is a covered narthex. This façade has become a symbol of the cathedral and the city of Santiago de Compostela. As such, it is the engraving on the back of the Spanish euro coins of 1, 2 and 5 cents.
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After Nikephoros's death, his pupil Niketas became the abbot. Niketas was persecuted with the beginning of the second Iconoclasm under Leo V (r. 813–820). He died in 824, and is celebrated by the Orthodox Church as an iconodule Confessor of the Faith. Both Nikephoros and Niketas were buried at the narthex of the monastery's church of Saint Michael.
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Most of the North transept dates to the second quarter of the 13th century. The present South transept, vestry, and the westwards extension to the nave (now converted into a narthex) all post-date c. 1820, and are largely Victorian. A major renovation and re-ordering of the church began in 2007, and will take several years.
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The central apse possessed a synthronon for the clergy, with the chancel set apart from the nave by marble screens and an opus sectile pavement. The basilica was accessed through a colonnaded peristyle courtyard and narthex west of the basilica. The atrium was entered from its northern and southern sides. The peristyle courtyard was centred upon a rectangular cistern.
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The towers were made of aluminum sheet framed in hardwood. That year, the church organ was installed in the narthex, above the church entrance. The church was declared a cathedral in 1933 when Bacolod became a diocese. During the centennial celebration of the Cathedral in 1976, the bells were transferred from the belfry to the churchyard.
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The mosque lies in its separate garden, segregated from the rest of the neighbourhood with a high wall. The garden is entered via an arched gate. The mosque is rectangular in structure and has a length of 12.85 m and a width of 3.30 m. The narthex (son cemaat yeri) lies to the north and has three pointed arches.
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Inside the church the arcades are carried on round columns with moulded capitals. There is a west gallery, beneath which is a narthex. The marble and alabaster fittings were designed by Pugin and Pugin. During the reordering the reredos was cut down, the altar, which contain mosaic inlays, was brought forward, and the pulpit was converted into a lectern.
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The sides of the church each contain four, pedimented, four-over-four windows. The main door is in the bottom of the tower. Above the door in the gable is a small lozenge-shaped window. The interior contains a small narthex with tongue-and-groove boarding, a rectangular nave with tray ceiling, and a polygonal apse.
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On the interior, a small narthex is in the tower, and a set of double doors lead to the auditorium. The floor of the auditorium slopes gently. The curved pews are set into three sections separated by aisles, ad facing a raised pulpit in one corner. A broad opening leads to a separate room, known as the annex.
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The main altar was designed by the Genovese artist Giuseppe Massetti (1727): the sculpture shows Mary the Immaculate flanked by angels. He also designed the ambulatory and the pulpit. In 1862 a Neo-Classical narthex was added to the façade, which dramatically changed its appearance. The first chapel on the right side is dedicated to the Blessed Sacrament.
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The floor of the naos is covered with stone plates. The whole interior of the church with exception of the narthex is covered with frescoes which is traditional for that type of church. Several artistic traditions have been applied; the figures are dynamic, the characters are emotional and the faces - vivid. The shades are dark, saturated and harmonized.
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This free-standing two-storey red face brick building sits on a rusticated Brisbane tuff base. The exterior is now painted. Though asymmetrical, the school is designed to a basilica-like plan with the narthex and nave expressed externally by steeply pitched intersecting gable roofs. The main entrance is from a five-sided apse porch to the east.
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The monastery's treasury houses many important relics. The treasury, along with the monastery's library are temporarily housed over the catholicon's narthex. Among important cultural treasures, such as crosses, books, garments, etc., Esphigmenou has in its possession a large (3.05×2.80 m) part of Napoleon Bonaparte's tent, which was donated to the monastery by Patriarch Gregory V of Constantinople.
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To the west of the main church was the gavit (narthex), which was stylistically similar and, essentially, a continuation of the church. The gavit had a skylight dome in the center. A tower with a small bell stood further to the west of the gavit. The façades of the church and the gavit were decorated with pilasters.
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It is sometimes used synonymously with narthex. The westwork of Corvey Abbey (873–885), Germany, is the oldest extant example. The frescos (originally of the 9th century) inside the westwork show scenes from the Odyssey. The King, later the Emperor, and his entourage lodged in the westwork when visiting the abbey during their travels around the country.
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It houses frescoes of various ages, including a Last Supper and St Blaise healing the Sick by Giorgio Anselmi. The 12th-century façade has a small narthex and two double mullioned windows. It has a single nave with a crypt, which is what remains of the original Palaeo-Christian structure. The crypt has a nave and two aisles.
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Janin (1953), p. 176. On the right of the church lied the parekklísion of the Ayía Sorós, which contained the dress and robe of the Virgin. The veil and a part of her belt (now at Vatopedi monastery on Mount Athos), were later also kept there. The building was round and had a narthex and tribunes.
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When entering the church, the narthex creates a space that separates the public space from the sacred space. Marble stoups that contain holy water are located to the sides of the doors. If you proceed downstairs, there is the Crypt Chapel and Gift Store. Three sets of double-doors mirroring the front entrances allow guests into the cathedral.
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The main facade on the west side is dominated by a large stained glass window that is flanked by two smaller windows. In the gable peak is a trefoil window below a large stone cross. A small narthex is located at the main entryway in the tower. The sandstone pillars of the portico are connected by a sandstone arch.
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The northern part and the central nave had sunk into the sea, but in 1920 excavations and research began here, and the church is now well-preserved and partly restored. It has three naves, three apses and a narthex, with two smaller apses on the north and south sides. It is 28 m long and 18 m wide.
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A simple, unadorned arch entryway leads through the narthex and nave to the chapel and in turn to the sacristy. The sparse interior rests on a rectangular, almost symmetrical foundation. Administrative offices are hosted in an adjoining building on the south side. The altar lies on a square platform next to the nave and dominates the interior.
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To the west attached is a two-storey bell-tower which also serves as the narthex. Originally the church had three entrances, on the south, north, and west. The building can now be accessed only through a doorway cut in the south annex. The building was enveloped by a high toothed stone wall, which now stands in ruins.
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A second donor's inscription on the southern part of the western wall of the inner narthex gives the year 1317/18 as the completion date of the frescos under the reign of bishop Benjamin of Nagoričane.Elizabeta Dimitrova: The Church of St. George at Staro Nagorichino. In: Seven mediaeval churches in the republic of Macedonia. Skopje 2014, S. 84.
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The lowest zone is represented by geometrical patterns. Saintly figures (warriors, martyrs, monks, apostles, ascetics) like Pachomius, Cosmas of Jerusalem and John of Damascus are arranged in the second stripe. Only this register can also be found in the inner narthex. The next zone consist of scenes out of the life of saint George, especially his torture.
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Oxhey Chapel is constructed in knapped flint and red brick, arranged in alternating squares forming a chequerwork pattern. The dressings are in stone, and the roof is tiled. Its plan is that of a rectangle with a narthex projecting to the west. The entrance has a moulded Tudor arched surround, with the date 1897 in the spandrels.
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On each side of the narthex is a two-light window, and above it is a four-light window. Above this is a stone cornice, and a brick gable with a stone coping. On the roof is a 20th-century octagonal wooden bellcote, with an ogee-headed cupola. At the corners of the chapel are stone quoins.
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In the past they have hosted The Choral Guild of Atlanta, The Oglethorpe University Choir and many other talented performers. Communion is celebrated approximately monthly, and follows the liturgical calendar. All Christians are invited to participate whether or not they are members of OPC. After the worship service, refreshments are served in the Narthex of the church.
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It was known in antiquity as LaserApicius: A Critical Edition with an Introduction and an English Translation, ed. Grocok and Grainger or narthex. In Sardinia two different chemotypes of Ferula communis have been identified: poisonous (especially to animals like sheep, goats, cattle, and horses) and non- poisonous. They differ in both secondary metabolites patterning and enzymatic composition.
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The dolmen-chapel is situated beside the Valverde-N2 road, near the turn-off to Sao Brissos. The dolmen () is of a Neolithic date and was built between the 4th and 3rd millennium BC. In the 17th-century a small whitewashed chapel was constructed around the surviving stones of the dolmen. The chapel narthex is formed by the dolmen.
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On this side there is also a chapel - a rare feature of ancient Kyivan Rus churches. The baptistery and the niches of the narthex are other uncommon features. Originally, each of the vaults was roofed with plates of sheet steel. Throughout the centuries, the church suffered more than once from devastating enemy raids and a devastating fire in 1734.
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From evidence of various repairs and reconstructions, four distinct building phases can be distinguished. The original floorplan is a cross with apses on four sides and a narthex on the west side, with four columns supporting a dome. The altar and floor were originally of marble. Tiles on the outer walls have Kufic-like decorative patterns.
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The church is a simple late-Gothic, three-bay aisleless nave, narthex and chancel, with vestry at north-east, Lady Chapel at north-west, and porch at west gable. It is built of snecked masonry, with a slate roof. There is a spired bellcote at the west end. Inside, there is a collar-braced waggon roof.
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The lity takes place in the narthex so that the catechumens and penitents, who in ancient times were not allowed to enter the nave could participate in the joy and blessings of the feast and the faithful would follow the clergy into the narthex to show their humility and brotherly love towards the catechumens and penitents. Two possible explanations have been suggested for the origins of this procession. The fourth century pilgrim Egeria states that after Vespers at the Tomb of Christ a procession would go to the site of Calvary where further prayers were said after which the congregation were dismissed. At the monastery of Mar Sabbas in the Judaean wilderness at the end of Vespers the monks would go to the tomb of St. Sabbas where the lity prayers would be said.
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The gallery above the narthex is at the level of the triforium. The aisles are narrower than in medieval churches and are used for passage rather than seating. The south aisle features five window bays, while the north has four;Stillwell, p. 15. where the easternmost bay would be is the entrance to a side chapel called the Blessed Sacrament Chapel.
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The red brick building has five distinct sections (narthex, sanctuary, office wing, fellowship hall, and chapel) built around a central courtyard. The windows are tall and narrow. The sanctuary is the principal interior space of the building. It is a windowless room, made up of simple elements that combine to create a space that is at the same time dramatic and serene.
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The Holy Door The covered portico (or narthex) that precedes the façade is a Neo-classicist addition of the 19th-century reconstruction. On the right is the Holy Door, which is opened only during the Jubilees. The new basilica has maintained the original structure with one nave and four side aisles. It is long, -wide, and -high, the second largest in Rome.
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St. Mena's relics were formerly kept in this church, however, most of these relics were transferred to the famous Monastery of St. Mina in Mariut (near Alexandria) in 1962. The only remaining ones are kept in the narthex of the church. On the southern sanctuary, there is shrine that contains a number of beautiful icons embroidered in the Coptic style.Dunn, Jimmy.
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Marko's Monastery contains a single cross-shaped church dedicated to Saint Demetrius. The monastery grounds also consist of lodgings, a belfry, a well, warehouses, a bakery, and a mill. The monastery still operates a special oven used to make rakija. Fresco depicting Saint Demetrius The church has a narthex, a central dome and a smaller dome on the western side.
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The church was intended to have a large steeple, but this was never built. In 1913–14 a narthex, also designed by Kirby, was added. In 2002 the church was re-ordered, and it was re-dedicated in May of that year by Cardinal Cormac Murphy O'Connor; this was the first time that a cardinal had visited Chester for over 100 years.
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This meant that only the junior school was left on the old site. In October 1988, more school buildings were built at the new site, and the junior school was moved there. Without a school there, some of the old buildings were demolished and a car park created. In 1990, the church was extended again, this time, with a narthex being added.
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In 1963 the two western bays were partitioned to create a side chapel and a meeting room. The galleries at the sides of the church were removed, and the west gallery was converted into a hall in the upper storey. In 2004 a narthex, flanked by two small pavilions, was built at the west end to provide a new entrance and toilets.
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Trinity Episcopal Church is a historic Episcopal church located at 472 N. Main Street in Mount Airy, Surry County, North Carolina. It was built in 1896, and is a one-story, Gothic Revival style masonry structure of uncoarsed granite rubble. The main block of the church measures 20 feet by 50 feet. It has a small gable narthex and features lancet windows.
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The church is entered through three bronze doors adorned with angels, a recurring motif throughout the church. The doors open up into a narthex or vestibule decorated with mosaics on the walls, illuminated by the many colors of the stained glass windows, and stone carvings on the architectural details. There is a variety of styles and motifs reflecting the hands of different craftsmen.
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15, buried on the outside of the southern wall of the narthex. Wooden coffin was walled and vaulted with distinctive design. On remains of the deceased male younger age person, were founded parts of a robe with 27 silver buttons with gold embroidered work, where in addition to ornamental detail, preserved metopes with the name of the Emperor Jovan Aleksandar.
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The nave consisted of three bays, each capped by a cupola and flanked on either side by gabled projections with round windows. A narrower apse completed the composition. Work began in 1930 on Closson's design, but progressed slowly and only the lower façade was built. The proposed tower-arch was not completed and the first cupola was incorporated into a narthex.
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At the right of the entrance is a baptistery which still contains a cross-shaped baptismal. The narthex of the church is preceded by a central atrium and five columns demarcate its aisles. The apse is semi- circular and on the ground floor stands a gallery reserved for women. A small mausoleum containing three sarcophagi is situated at the side of the baptistery.
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In the narthex are scenes of the Last Judgment, Bosom of Abraham, Angels bearing a Medallion with the Cross, and three scenes from the life of Saint Stephen; other paintings were lost in the 1283 earthquake. The paintings are not frescoes, but executed in secco, and "testify to contacts with the Christian Orient and the Byzantine world, but applied using local artistic traditions".
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Rocky Run Methodist Church is a historic Methodist church in Alberta, Brunswick County, Virginia. It was built in 1857, and is a one-story, frame Greek Revival style building. It has a two-room plan consisting of a narrow narthex and a nave. The front facade features a Roman Doric distyle pedimented porch, which frames the paired, four panel door church entrance.
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It is a complex of churches, residential and commercial buildings. The monastery church is one- nave, one-apse, with an inner and open narthex over which a bell tower rises. In one of the residential buildings a chapel was later built, dedicated to the Bulgarian Saint Clement of Ohrid. The monastic holy spring is situated nearby, on the right bank of the river.
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Works continued for more than a hundred years, with the Gothic style becoming increasingly evident. The façade has a large rose window including The Wheel of Fortune. Notable also are the lions supporting the columns of the narthex on the northern side and the twisting columns in the apsidal area. The interior has a nave and two aisles with a transept.
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The Church of St Petka in Vukovo. The church is situated on the left bank of the Struma River in the eastern part of the village of Vukovo, municipality of Boboshevo. It is one nave and one apse church without narthex with wall piers which form a swallow arc on the western facade. Its dimensions are 8,10 x 4,34 m.
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The church is constructed in red brick with blue brick bands, sandstone dressings, and a slate roof. The original building was in Early English style, and the south aisle is Perpendicular. The plan of the church consists of a six-bay nave, a south aisle, a chancel, and a west narthex. On the west gable is a bellcote surmounted by a finial.
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Two-level window layout is applied at the north and lateral facades, at the women's section and the narthex. The building completely lost its original construction properties after several restorations. A major alteration took place in 1945. The mosque was closed to worship by a cabinet decree, and was used as an archaeological museum until the establishment of the Eskişehir Eti Archaeology Museum.
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Inside, the central front entrance leads into a terrazzo-floored narthex; from there, there are three doors into the nave. The nave has a reinforced concrete floor and a ceiling which coves at the side walls and slopes upward toward the center from either side. A balcony projects from the rear. The former sanctuary floor is raised one step above the nave floor.
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Two small upper windows on each long side of the nave give the church its basilica appearance. The upper frame of the roof consists of pairs of rafters tied together and stiffened by a collar. The tower was suspended above the narthex, with the four uprights supporting straight the spire of the steeple. The bell chamber is almost only an outer adornment.
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"Старобългарско изкуство", Том ІІ - Никола Мавродинов, издателство "Наука и изкуство", София, 1959 г. Church of Saints Peter and Paul, Veliko Tarnovo A peculiar type of Christian churches were those with a triconch plan. They are small, one-naved with or without a narthex. Their main peculiarity were the three conchas (apses) placed in the eastern, southern and northern walls of the naos.
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Icon from 1633 The church is 23 meters long, seven meters wide and the external walls are one meter thick. It is a simple, straight building, covered with natural stones and bricks. It consists of the narthex, the church room and the altar room, accessible only to the priests. The small windows lay the paintings, the carvings, the icons in a half-dark.
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In the 18th century, several earthquakes hit the monastery. The one in 1784 being especially devastating; destroyed the main church, the refectory, part of the bell tower and the southern wall. In 1788 the monastic complex underwent complete reconstruction—its gavit (narthex) was enlarged, and renovation was carried out in its belfry, the monks' cells, scriptorium, ramparts and other sections.
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Today Christ Church is the oldest church in the diocese. Thirty-five stained glass windows add colorful inspiration to the buildings on the property: seventeen in the main church, eight in the parish hall, six in the chapel, four in the narthex and a domed ceiling in the chancel. The Rev. William H. Judd was the first priest to serve Christ Church.
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The chapel is oriented with the altar at the west end. The last bay at the east end constitutes a narthex (ante-chapel) with a gallery. On the south of the chapel is a tower which is free-standing, but joined to the chapel at the lower two storeys, and by a bridge above. At the southeast corner is a staircase turret.
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The narthex and sanctuary have stained glass skylights. The capacity is 1,000 people. The three-story parish house had a Sunday school with three main rooms and eight classrooms, a library, and private offices for the school superintendent and the secretary. There was a study for the pastor, an apartment for the janitor's family, a boardroom, a kitchen, and a recreation room.
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Inside, the tower base's high arch makes it a narthex, with a glazed wood screen setting it apart from the nave. The white marble baptismal font is located in the center aisle a short distance from the nave. The floor is terra cotta panels set in cast concrete. Walls are done in unpainted stone, cast stone and plaster scored to resemble stone.
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A very abbreviated form of the memorial service is called the Lity (or Liti or Litia), from the Greek λιτὴ τελετή, litē teletē, i.e. a plain ceremony, or λιτὸν μνημόσυνον, liton mnēmosynon, i.e. a plain mnemosynon; it consists only of the concluding portion of the regular memorial service. This is often celebrated in the narthex of the church on ordinary weekdays (i.e.
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Now add three apses on the east side opening from the three divisions, and opposite to the west put a narrow entrance porch running right across the front. Still in front put a square court. The court is the atrium and usually has a fountain in the middle under a canopy resting on pillars. The entrance porch is the narthex.
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The church is a five-domed structure. The interior length of the temple is 30 metres (98 ft), and the height of the arch is 27 metres (89 ft). The width of each narthex is 9 metres (29 ft), and so is the span of the central dome. All four façades are made of white marble, which comes from the Venčac Mountain.
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Once the procession arrives at the church, the coffin is placed either in the center of the nave or, if the narthex is large enough it is placed there. Four candlestands are placed around the coffin, forming a cross. The priest censes around the coffin and begins a Panikhida. Then, the reading of the Psalter continues until the beginning of the services.
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This church, finished in 1215, is the best- preserved monument at Ani. It was built during the rule of the Zakarids and was commissioned by the wealthy Armenian merchant Tigran Honents. Its plan is of a type called a domed hall. In front of its entrance are the ruins of a narthex and a small chapel that are from a slightly later period.
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Only the construction work was finished. Divine service took place in the new church during the war in 1941 and after it until November 14, 1948 in the adapted narthex of the church. On that date the church was consecrated (by Serbian Patriarch Gavrilo V) and the church opened for divine service. There were plans to decorate the whole interior with frescoes.
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The ceramic tile mural behind the altar depicting "Christ in Glory" is the largest in the world. The narthex is separated from the main nave by a wall of glass etched by Giovanni Hajnal. It depicts the Kingdom of Christ both on earth and in heaven. The capacity of the cathedral is about 1,750 people not including the two side chapels.
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To the 16th century restorations belong the marble cover of some walls, the pavement and the baptismal font (1531) and the narthex (1588) of the entrance, in Romanesque style, work by Angelo Nani. The interior has a 14th- century Crucifix, over the St. John altar, and two wooden statues portraying "St. Philip Neri" and "St. John the Baptist" by Giovanni Bertesi.
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The columns are connected among one another on both directions. Each one of the three aisles has a cupola, and each one of the three cupolas is different. On the eastern side the apse is outside of the cupola and some pillars cover it. The narthex is on the western side, and its construction is similar to the remaining part of the naos.
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Its central and side aisles already approached the width of the later churches on the site. West of the nave was a small, almost square narthex. The arms of the transeptsmet at a rectangular crossing, which was the same height as the nave. Rooms in the east ends of the side aisle were accessible only from the arms of the transepts.
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This involved the removal of the late-Victorian pews, and the installation of an oak floor, and glazed screens between the narthex and nave and at the three external doors. Four of the Victorian stained glass windows were relocated onto the Church Hill facade, while the two rows of windows in the aisles were replaced in a clear leaded Georgian design.
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The chapel is the size of a parish church, seating 400 people. At the west end is a narthex, divided from the body of the church by an oak screen. The interior is asymmetrical, with a three-bay south arcade between the nave and the aisle. In the transept, the vestry is at the lower level, with the organ above.
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The fortress is now completely in ruins. It is built of blocks of rough ashlar stone, the main entrance is from the westerly located narthex. All three naves are connected with each other via doors. The main nave is lit through three windows in the southern wall and with one window, each on the western wall and in the altar.
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An ornament to the city: A history of the Cathedral Church of St Saviour, Goulburn, 1874 - 1988. W.C. Stegmann. A painting of the original church hangs in the narthex of the current cathedral. By the early 1860s, when the Diocese of Sydney could not functionally minister to the Goulburn area, it was decided that the Diocese of Goulburn should be created.
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In the middle of the cemetery, a three- nave church was built at the beginning of the 5th century. The center ship had a mosaic floor; Narthex and side ships were covered with clay tiles. Under the floor of the church, graves were discovered. Later on, a grain store were added to the building and a vault where the church treasury was kept.
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"Pentecost", (1972–73), Clifton Cathedral Haig also received a commission for Clifton Cathedral, the project dating from 1965 and completed in 1972–73. Like St Richard's, Ham, Clifton is a six-pointed star plan with a hexagonal interior space. Haig's window contains 8000 pieces of glass set in epoxy resin. The larger of the narthex windows depicts "Pentecost" and the smaller one "Jubilation".
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The church is constructed in red sandstone, and has roofs of banded grey and purple slates. At the west end is a narthex porch, above which is a five-light window. Over this is a pair of two-light Geometric windows flanking a canopied niche containing a statue of Saint Francis. On the east and west gables are stone cross finials.
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Church of the Saint Queen Alexandra was built in 1904 at the Orthodox cemetery of Nakhichevan-on-Don to replace a wooden chapel there. For this reason, the size of the temple is relatively small: about 18 × 13 metres. Architect Vladimir Popov built the church in Russian Revival style. In 1910, there was constructed a belfry, and in 1920 ― a narthex.
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On stylistic grounds, it has been dated to the late 12th century. The katholikon, whose foundations survive, was a cross-in-square domed church with three semicircular apses, and sported a floor decoration by inlaid marble in geometric patterns very similar to the nearby Church of Hosios Loukas. The katholikon collapsed ca. 1890, and the narthex was transformed into the current church.
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The Virgin's Church is a domed single-nave basilica. At its eastern end there is a three-sided apse, while an extended narthex faces west; there are also vestibules on the north and the south. In the 1230s, a large exonarthex was added. The facades were built with slabs of white marble; inside, the church is revetted with tuff blocks.
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Façade of the cathedral The SS. Michael and Gabriel Cathedral () is a Greek- Catholic (from 1948 to 2006 Romanian Orthodox) religious building in Satu Mare, Romania, built between 1932-1937 in place of an older church which had been opened in 1803. The newer edifice was commissioned to architects Victor Smigelschi and Gheorghe P. Liteanu, and its style relates to the Neo- Brâncovenesc architecture of the period, featuring a pendentive dome with towers on either side of the narthex and a monumental portal at the entrance (outlined by an archvault decorated in cable moulding and acanthus). The cathedral building is divided into three naves flanked by double columns, and its narthex features a balcony. The interior features murals by painters Schnell and the Profeta brothers, while the basement hosts a collection of old books, icons and other religious artifacts.
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657, 1981. The windows can be divided into three primary sets: the nave windows lining the east and west walls of the church, the three windows above the narthex and the windows above the three front entrances. There are dozens of additional windows in the sacristy, the bell tower, and throughout the church. The windows are constructed with gothic patterns that show art nouveau influences.
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Three doorways lead from the narthex into the nave, which is high and named for Hibben.Rhinehart, p. 51. It is divided into three vertical levels: an arcade at ground level, a triforium beneath the roofs of the aisles, and a clerestory. The configuration and its proportions are typical of English churches, but the nave's vaulted ceiling and the colonnettes supporting it recall French churches.
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The best preserved painting is in the main hall. Calligraphic peculiarities and the artistic style of the frescoes testify that they were painted in the late 16th and early 17th century. Over the south door of the narthex, there is a painting of the Assumption of Mary. In the altar, there is painted the scene of the Annunciation flagged by images of the kings David and Solomon.
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Between the narthex and the nave there are two massive pillars with iconic style column heads. Lateral apses are hollowed in the lateral sides of the nave, in the thickness of the walls. The iconostasis (templon), separating the nave from the altar (sanctuary), is sculpted in yew wood and gilded in gold. It was made by Constantin Zugravul in 1816, on the expense of lady Elencu Paladi.
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Pointed caps on the towers and a metal pitched roof (blocking the clerestory) were added after 1917, probably in the 1920s. The "elegant" doors were carved by the 19th-century carpenter Pedro Domínguez. An unusual feature is two side-by-side rooms at the entrance forming a vestibule or narthex, once used for storage. The nave contains a crucifix representing Christ of Esquipulas, tall.
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The building features a square central tower housing the narthex, adjoined to which is a tall bell tower. Pointed arch stained glass windows are featured throughout, and a steeply gabled roof is adorned with matching stone crosses. The interior of the church features a hammerbeam roof and an elaborate carved altar. Holy Trinity was added to the National Register of Historic Places in 1972.
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The Church of St John the Baptist is relatively small, measuring or , with a height of around . In terms of design, it follows the Byzantine cross-in-square style. The church lacks a narthex and features a single triangular apse with three small windows in its eastern part. The wall which carries the iconostasis clearly divides the interior into a cella and an altar.
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Inside the church the arcades are carried on alternating round and octagonal piers. There is a large pulpit dating from 1895, and a hanging rood cross of 1933. The stained glass includes seven windows by Hardman dated 1927 and, in the narthex, eight small windows from 1936 by Trena Cox. The original two-manual organ was built in 1882 by Wadsworth and Brothers from Manchester.
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The stair tower jointed with the church was multi-functional in ancient times. It provided climbing at the choir loft, but furthermore it had the narthex in honour of Onuphrius and St. Peter of Athos sanctified in 1122. In the tower walls' the thick tiny cells for praying are preserved. St. Antony spent his last years in the tower, thus likening himself to the stylites.
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Thus, the walls of the temple have a thickness of 2.05 meters. The thickness of the walls of the Temple 2 does not exceed 1,3 meters. The Temple 4 was built on the ruins of the Temple 3. This temple consists of two distinct parts including the oldest southern part with three smaller rooms and the northern part of the church and the narthex.
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The basilica was built in the early 5th century, during the Early Christian period, when Cyprus was part of the Byzantine empire. It originally comprised three aisles with two rows of marble columns, an apse and a narthex. The floors and walls were decorated with coloured mosaics in geometric patterns. In 653 AD, it was almost destroyed during the Arab raids against the island.
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The main façade, together with the adjoining baptistery, is one of the most important monuments of Romanesque art in Europe. It has a portico with a narthex in the middle, to which a Renaissance loggia with three niches was added in 1491. This is surmounted by a large rose window, flanked by two orders of loggette ("small loggias"). The portal is probably from the early 12th century.
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The Church of Saint Panteleimon () in Gorno Nerezi, North Macedonia, is a small 12th-century Byzantine church located in a monastery complex. The church and monastery are dedicated to St. Panteleimon, the patron saint of physicians. The church was constructed in 1164 as a foundation of Alexios Angelos, a son of Constantine Angelos. The church has a domed cruciform core, three apses, and a rectangular narthex.
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According to the founder caption and information obtained by archeological excavations, St Nikola church in Staničenje was built during the third decade of the 14th century. During that period, first was built a church with nave basis and after that, perhaps only a few years later, built-on a porch. This extension preceded of the painting in the nave and narthex, which ended in 1331-1332.
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One of the walls can be climbed by narrow stairs for a high view of the city. Underneath the choir of the Duomo, a narthex containing important late 13th-century frescoes (probably about 1280) was found and excavated in 1999–2003. The frescoes depict scenes from the Old Testament and the life of Christ. This was part of the entrance of an earlier church.
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If they are monks they wear klobuks and mandyas;In the Greek practice, only certain monks wear mandyas. if either of them has been granted the kamilavka he wears it. If the priest has been granted the pectoral cross he wears it. After venerating the icon in the narthex they enter the nave and make three metanias (bows at the waist) or prostrations, depending upon the day.
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Some of the proceeds were used to support early ovarian cancer detection. Her work was exhibited that year at the Wilmette Village Hall and the Wilmette Arts Guild's Festival of Arts. Schoch made a unique tapestry of modern-day Jerusalem in memory of Patricia Flint, a friend's sister. It was dedicated on June 16, 2002 and hangs in the narthex of First Presbyterian Church of Joliet.
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The narthex, measuring 1.82m x 5.48m, was almost totally destroyed and no trace of any features survived, including the floor covering. The shrine measured 10.6m x 5.48m with a 2.43m wide niche at the northern end, 45 cm deep. The benches were 1.52m deep and 9.1 meters long. Steps must have led down into the nave, though this part was destroyed by the sewer trench.
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The church interior, using the cruciform plan, has a nave, a transept, and an apse. One enters the nave from a small vestibule (also known as a narthex) on the south side. A central aisle, with pews on each side, runs through the nave, ending at the walnut communion rail. A gallery supported by chamfered pillars is located at the back of the nave.
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That same year the monks returned to Pavlovac. The design of the monastery differs from the typical style of the day. The central object in the complex is the church with the square based narthex, which can be classified as the representative of the Morava architectural school. Surrounding the church were the konak, the dining room with the monastic cells and the kitchen, all in ruins today.
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The structure is located on the top of the Frourio Hill, the city's acropolis, between the First Ancient Theatre and the later, Ottoman-era Bedesten. It is a typical three-aisled basilica with a narthex and exonarthex. Originally it was covered by a wooden roof. Various graves have been excavated in and around the church, including three vaulted tombs and a number of box-like graves.
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The ground plan of the church is typical of other Coptic churches: a narthex, a nave, a choir, northern and southern aisles and three sanctuaries. The northern sanctuary is dedicated to the Virgin Mary and the southern sanctuary is used as a shrine. It contains several 19th century icons of the Holy Virgin and saints Demiana, Stephen, Barbara, Shenouda, Paul the Hermit, Anthony, and Peter and Paul.
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The church consists of a vast nave of eleven bays, entered by a narthex, with a transept and short apsidal choir. To the east of each limb of the transept are two square chapels, divided according to Cistercian rule by solid walls. Nine radiating chapels, similarly divided, surround the apse. The stalls of the monks occupy the four eastern bays of the nave, forming the ritual choir.
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The single-nave church had a dome and an altar apse, semi-circular on the inside, rectangular on the outside. On the northern and southern sides of the narthex, there were two parecclesia, whose outside was masked with a flat surface. The chapels were topped by two towers of greater height than the church dome. The church is in compliance with the Rascian architecture.
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The church consists of a narthex located in the bell tower, nave with gallery, and chancel flanked by two small rooms. It is a rectangular brick building with a slate roof. The parish hall was doubled in size and restorations made to the church about 1940 by Charlottesville architect Milton L. Grigg (1905-1982). Arcades connect the church to the parish hall and form a cloistered courtyard.
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Nevertheless, some of the parts surrounding the altar apse date from the 7th century. Much of the present structure dates from 1811, when the Qajar prince Abbas Mirza aided renovations and repairs. Simeon, Father Superior of the monastery, added a large narthex-like western extension to the church. The western extension duplicates the design of Etchmiadzin Cathedral, the mother church of the Armenian Apostolic Church.
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Detail above gavit portal Passing through the gate in the circuit wall, the gavit is on the left. The facade of the gavit, which was built with a donation from Prince Vache I Vachutian in 1224, bears sculptures of a sphinx and a lion attacking a bull. Inside the gavit, one reaches the earliest church, of the 10th or 11th century. The narthex is four-columned.
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The decoration of the church is in stylistic harmony with that of the main temple and the narthex. The profiled girth skirting the building passes across the ends of the niches and the window openings. On the northern side there are eye- catching reliefs of a stork and a snake, and over the southern window a scene showing two beasts locked in a fight.
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Construction of the remaining four bays of the nave, plus narthex, was carried out in 1914–15, however the intended upper and ornamental part of the tower was not constructed due to World War I. A memorial chapel was added to the church after the war and the south porch constructed in 1922. An annexe, designed by Moss and Denham of Salisbury, was later added in 1969.
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In the center of the rose window above the front door is the Lamb of God. It came from St. Augustine's parish in South Boston. Surrounding the Paschal Lamb are eight newly commissioned windows, an octofoil, produced by Lyn Hovey Studios. On the left side of the narthex there is an image of Our Lady of Good Voyage holding the Christ Child and a caravela.
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Initially the belfry used to be part of the church building raising from the south-western part of the female compartment. On 2 March 1904 an earthquake destroyed the belfry and the western narthex. In 1907 another belfry was constructed in the southern part of the church yard. The construction of the church began in the spring of 1851 and finished a decade later in 1862.
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The church is constructed in brick with stone dressings and has a tile roof, in the Flemish revival style popular at the time for libraries and civic buildings. It is notably un-ecclesiastical in style with no Christian or religious imagery on the outside. The church is rectangular in plan in six bays with a narthex. To its left is the church hall and a vestry.
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The Church of St Nicholas lies in the centre of Sapareva Banya. Its architecture is rather simple, with a single nave, a single apse and no narthex present. The church follows the Byzantine cross-in-square design, with unusually short arms of equal size. The dome has twelve sides and is of no particular height, though it is rather large for the church's size.
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The church has an atrium and narthex, which isolates the church from the busy square outside. There are fragments of early Christian sculpture, many with inscriptions, embedded in the walls of the atrium. The facade has an unusual giant order topped with four baroque statues (1703): San Silvestro by Lorenzo Ouone, Saint Stephen by Michelangelo Borgognone, Saint Clare by Giuseppe Mazzoni and Saint Francis by Vincenzo Felice.
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Interior view, showing the southern lunette. The Good Shepherd Ceiling The "mausoleum" of Galla Placidia, built 425–450, is a cruciform chapel or oratory that originally adjoined the narthex of the Church of the Holy Cross (Santa Croce) in Ravenna. It was probably dedicated to Saint Lawrence. Aelia Galla Placidia, the likely patron of the building's construction was the daughter of Theodosius I and Galla.
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The original facade, seen inside the narthex reveals the unusual Romanesque construction, mixing stones, mortar, and brick, in alternating layers. At the rear of the church, the tall square belltower, also striped with stone and brick, has three arched windows near the roofline, and the roof is cone with three corner pinnacles.Tourism office of Verona. The belltower was built under the patronage of Viviano Bevilacqua.
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The courtyard, which is at a lower level in relation to the road, is paved with stone. The narthex has three gates, and is topped by five domes on octagonal base supported by thick stone columns carrying pointed arches. In the later time, a glass wall was constructed in front of the columns so that they remain behind. The rectangular-formed prayer hall has the dimensions .
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Interior looking toward high altar, unusually at the west end The east window The narthex at the east end has a groin vaulted oak roof, and is paved with black marble and with encaustic tiles. A stone screen leads into the nave. This also has a groin vaulted roof, but built in stone. Between the nave and the chancel is a low alabaster screen.
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The last part of the Greek name, Chora, referring to its location originally outside of the walls, became the shortened name of the church. The name must have carried symbolic meaning, as the mosaics in the narthex describe Christ as the Land of the Living (, hē Chōra tōn zōntōn) and Mary, the Mother of Jesus, as the Container of the Uncontainable (, hē Chōra tou Achōrētou).
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The floor plan for St. Michael's Cathedral Basilica. On the inside, the centre aisle along the main axis between the pews used for formal processions dominates. It is also used by parishioners taking their seats and going up for communion. The interior of the cathedral is laid out to create 5 designated spaces: a foyer, aka the narthex, the balcony, central aisle, left aisle and right aisle.
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The building had the shape of a large three-aisled basilica, with a narthex, and oriented on an east-west axis. It measured by , was built of mud-brick over stone foundations, with probably vaulted nave and aisles, and arched doorways. Remains of a staircase suggest that it had a second storey. The nave ended in a chancel area followed by a rectangular apse.
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It can be accessed through three rectangular doorways, on the west, south, and north. A narthex, attached to the west door and open in a series of arches on three sides, is a 15th-century annex. The tall dodecagonal dome rests upon four free-standing piers. The transition from the square central bay to the circular plan of the drum is effected through pendentives.
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Many of these statues had long been stored away after they were removed from the Lower Church during renovations in 1990, when newer statues were purchased from Italy. The statues that were within the northeast stairwell tower of the Main School were also restored and now adorn the stairwells to the Upper Church Narthex. These statues stood in the original chapel also date from the 1920's.
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At that time it was a smaller building, lacking the current south transept, narthex and bell tower. In 1882 Frederick Clarke Withers was hired to design a Tudor Revival church school building on adjacent property. The adjacent Parish House property was added the same year. Ten years later the south transept and gallery were added, based on designs by Richard Upjohn, who had died 14 years earlier.
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Deesis scene at Chora Church. The image of Maria (seen on top of page) can be seen in the lower right of this mosaic. There is a surviving mosaic portrait of Maria, from the narthex at the Chora Monastery (she appears as a nun, with an inscription with her monastic name of Melania),Source in the lower right hand corner of the Deesis scene.
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The latter terminates in a pentagonal sanctuary apse which is pierced by a single window. A window in the north aisle is sealed. The south aisle and the narthex in the west both are open to the exterior through two-arched arcades. Transition from the central square to the circle of the dome is effected by two squinchs to the west and proto- pendentives to the east.
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The main entrance of the church is allocated from the western part to enter into the narthex and the main nave. It is vaulted by four inconspicuous bays of Baroque barrel vault with lunettes. There are simple pilasters on second and third pillar and double pilasters on the other pillars. The original Gothic vault, which was roughly 1 m taller, is visible in the loft only.
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Further mosaics, constituting a Deesis, were added to the narthex (entryway) of the church in 1973; further mosaics (a Crucifixion and a Descent into Hades) were completed in 1974. The Montlake church was formally consecrated by Archbishop Iakovos in on April 28, 1974 and Father Demopulos was raised to the position of Protopresbyter or Archpriest, the highest honor awarded to a married Orthodox priest.Mootafes et al.
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At its last heyday, when the church appointed Dion to be the seat of a bishop, the basilica of the bishop was built in two phases of construction in the 4th and 5th centuries. It was a three-nave church with narthex. The remains of the walls are painted, the floor was mosaic. A smaller building, situated to the west of the church, served as a baptistery.
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St Matthew's was built between 1849 and 1851 to the design of Sir George Gilbert Scott, assisted by his brother-in-law, George Frederick Bodley. Scott's son John Oldrid Scott designed the clergy house. Subsequently, Sir Ninian Comper added the Lady chapel (approached by the staircase in the Narthex). The interior was greatly enriched by the work of Bodley, Charles Kempe, W.E. Tower and Martin Travers.
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The cross- in-square church is complemented by a narthex, while the bema and naos are divided by a stony iconostasis. The sanctuary is flanked by a prothesis (north) and a diaconicon (south). The main dome is supported by an octagonal tambour, whereas pendentives form the transition between those two elements. Another four smaller domes, one at each corner of the church, add to the decoration.
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The Holy Forty Martyrs Church (, tsarkva "Sv. Chetirideset machenitsi") is a medieval Eastern Orthodox church constructed in 1230 in the town of Veliko Tarnovo in Bulgaria, the former capital of the Second Bulgarian Empire. The Holy Forty Martyrs Church, an elongated six-columned basilica, has three semicircular apses and a narrow narthex from the west. Another building was added later to the west side of the church.
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Restoration after the earthquake created a stronger foundation for the church. Before being rebuilt, the foundation had significant structural problems. This restoration established a cross-domed plan on the gallery level while still being able to keep the original basilica plan at the ground level. The narthex can be found to the west, preceded by the atrium, and then the apse on the east side.
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Hagia Irene still holds its dome and has peaked roofs on the north, west, and south sides of the church. The dome itself is 15m wide and 35m high and has twenty windows. Hagia Irene has the typical form of a Roman basilica, consisting of a nave and two aisles, which are divided by three pairs of piers. This helps support the galleries above the narthex.
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Looking at the new narthex entrance and bell tower of St. Paul's Episcopal Church. There are 432 structures in the Euclid Golf Allotment Historic District. Fifty-four of these structures are in the Fairmount Boulevard Historic District, and 48 of these 54 are historic. Of the 378 remaining structures, 363 are historic. These include 229 residences, one commercial building, and 133 outbuildings (primarily garages).
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For instance, in the Boyana Church there are ten warrior-saints. Widely spread was the image St Demetrius of Salonica, the patron saint of the Asen dynasty, who was particularly popular in Bulgaria in 13th and 14th centuries. The ktitors were depicted in the narthex of the churches. Portraits of many noble Bulgarians from the Middle Ages have survived throughout the centuries due to that practice.
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An airy narthex was added on the side of the building facing St. Clair including a tower with a stained glass window commissioned for the renovated building. The work is entitled Radiance, Reflection, Revelation by artist Sarah Hall. It was later nominated for the Ontario Arts Council's Jean Chalmers Award as the single largest commission for a stained glass work in the Toronto area.Heritage Designation Proposal. 2008.
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The monastery was composed of six churches, gavit, narthex, (nakhasrah), and other structures. The main church of Varagavank was called Surb Astvatsatsin (Holy Mother of God). It dated to the 11th century and was similar in plan to the prominent Saint Hripsime Church in Vagharshapat. The earliest structure was on the southern part of the ensemble and was known as Surb Sopia (10th century).
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Selina Ballance, who studied the building in 1958, described it as follows: "Though strongly basilical in character, it has a dome, and transepts open from floor to vault running north and south to the outer walls; the aisles, like the nave, are barrel-vaulted, with ribs, but have galleries over them, even over the eastern bays which are cut off from the rest by the transepts: and the vaults of the aisle bays on the ground floor span at right-angles to those of the nave and the galleries."Selina Ballance, "The Byzantine Churches of Trebizond", Anatolian Studies, 10 (1960), p. 146 She noted it was unusual in many respects, specifically in that basilicas do not commonly have galleried aisles—as this one does—and by having a narthex outside of the main narthex. Ballance also notes that it is "very difficult" to date any portion of the church.
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The main entrances into the church are located on the west face of the tower and on the east side of the narthex in a gabled structure facing High Street. The front gable of the cathedral has a tracery window and a stone cross at its peak. The nave is six bays deep with a pointed-arch window in each bay. There are similar, but shorter, windows in the clerestory.
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One of Smith's personally significant projects from this period is Westworth United Church (1958-1959), consisting of two major additions to an education building (a gymnasium) designed by Green Blankstein Russell in 1950. The additions, a central narthex and towering sanctuary, needed to "tie in with the existing building and yet give the sanctuary a dominating position." The church includes large stained-glass windows by Leo Mol (1959).
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The church is of size and style typical of the late Middle Ages. It is low, single-aisle and with dimensions of 6,8m to 14,5m, with an entrance from the west. The building consists of two parts, the narthex was added later. Above the door, on the west wall of the nave, there is a donor inscription attesting to the creation and presentation of the church in the 16th century.
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Welsh Presbyterian Church, Chester The Welsh Presbyterian Church is in St John Street, Chester, Cheshire, England. The church was built in 1866, and designed by W. & G. Audsley of Liverpool. It is constructed with a yellow sandstone front, brick sides and rear, and a slate roof. The plan consists of a simple rectangle, with an apse at the east end, and a narrower single-storey narthex at the west (entrance) end.
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Its old church underwent reconstruction in 1744, but the final alteration was made in 1762, when a new narthex was built. A chapel dedicated to the Mother of God was placed therein, upstairs. The iconostasis for the restored church was carried out by Teodor Stefanov Gologlavac in 1753. Divša Monastery was declared Monument of Culture of Exceptional Importance in 1990, and it is protected by Republic of Serbia.
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The narthex entrance Both inside and out, the walls of the chapel are of grey Indiana limestone. The interior ceiling is lined with a structural acoustical tile which, although it is a ceramic product, approximates stone. The floor of the chapel is crab orchard stone with Vermont green slate in the side aisles. The floor of the Chancel is marble while the altar itself is of Numidian marble, imported from Egypt.
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The apses are of a semicircular design; the middle apse, the largest of the three, houses a three-tiered synthronon (stone benches for the clergy). The western section of the church includes a narthex, which has a baptistery with three semi-domes attached to its south wall. There are several entrances to the church, none of which can be considered the main entrance. The basilica is not topped by a dome.
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The Arabs maintained a garrison, using the structure as workshops, stables and living quarters for the army. They also built a tower in its narthex which could have served as a watchtower, lighthouse or a minaret. In 688 AD, after they evacuated the island, the church was restored as a three- aisled barrel vaulted basilica in a smaller scale than the previous one. In 1159 AD, the basilica was destroyed again.
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He was then at the summit of his power, and also one of the richest men of his age. Some of the money was spent on restoring and decorating the church of the Chora monastery in the northwest of Constantinople, where Metochites’ donor portrait can still be seen in a famous mosaic in the narthex, above the entrance to the nave. Metochites’ fortunes were, however, linked with his emperor's.
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In 1892, the roof was replaced, but the deadly hurricane of 1898 damaged it and the rest of the building. By February 1900, all was repaired. Workers remodeled the chancel and fashioned from the original pulpit and desk a walnut altar with a stone top, a lectern and a prayer desk. A chapel area was created in the Narthex which was easy to heat for the sparse winter congregation.
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The National Register of Historic Places has listed The Church of the Cross since 1975. In keeping with the church's rapid growth, members built the first rectory in 1986. With continuing growth that the church has experienced in recent years, this building became the church business office in 2001. In 1997, the Narthex wall was moved back to its original location, expanding nave seating for the growing congregation.
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The chapel was dedicated on October 25, 1964. The chapel was a gift of the late Robert L. Rooke, an alumnus of the class of 1913 and a member of the university's board of trustees. The chapel is named in memory of Mr. Rooke's parents. The main portion of the chapel includes the narthex, sanctuary, chancel area, organ chamber, choir rooms, and balconies that surround the sanctuary on three sides.
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He first built a Carolingian style basilica dedicated to Saint Peter, nearly long, which was consecrated by Saint Ouen in 657. (This church was destroyed by fire in 756 and rebuilt by Abbot Ansegisus (823-33), who added a narthex and tower). The monastery was extremely successful at first, and produced many saints and prelates. In 740 however there began a series of lay abbots, under whom the monastery declined.
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Large narthex and the second (north-side) entrance were built subsequently. The Iconostasis of the older church dating from the 14th century is preserved in the Saint Nicholas' Church. Primarily because of its plan, but also because of other architectural features, the church is classified in the group of Serbian churches built during the period of Ottoman rule over Serbia and influenced by the old Raška architectural school.
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Equipping and inspiring members to live their faith in mission to the community and world; and 3. Acting as a catalyst for renewing the mainline church. This mission is spelled out with large signage on the walls of the church narthex. Annually, the church hosts Leadership Institute, a conference aimed at mostly mainline church leaders, at which they can learn about the latest outreach methods employed by Church of the Resurrection.
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Congregational, Catholic and Methodist churches on Third Street in Cameron, Missouri, before 1918 In October 1893, the current brick church was built. In 1906 a Knights of Columbus Council was founded. In 1907 the present red brick rectory was constructed over the basement of the former rectory. It is seen (at right) to the east of the original church which can be seen without the narthex of 2001.
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Many modification were done on the church in the 16th century, with the addition of large windows and a spire, but the building kept is unique nave, which is unaligned with the narthex. The bell tower is from 1600, and the bell, surnamed "Marguerite" and weighing 180 kg, was blessed in 1722. Many ancient mural paintings from the 16th century were discovered and restored at the end of the 20th century.
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The narthex and the four-stepped adobe synthronon (stone benches for the clergy) were added during the second period of construction in the 13th century. The synthronon fits inside the middle apse and includes a throne with railings in the middle. The church had an adjacent bell tower, which was a separate rectangular structure that lay to the southwest of the church. Its walls were long and around thick.
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The church building is a three-by-four-bay one-story church on a stone foundation sided in vinyl over clapboard topped with a gabled roof. A two-stage bell tower with mansard roof rises from the center. The rounded-arched windows on the southern (front) facade are topped with decorative carved scrolls. On the inside, double doors with oak molding lead from the narthex to the sanctuary.
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The nave, aisles and chancel are under a single arched roof with exposed rafters supported by arch- braced king post roof trusses and the collar beams are supported on corbels. The main entrance is in the narthex at the east end which also provides access to the gallery which houses the organ. The altar survives and there is a carved wooden pulpit. The central aisle has contemporary pews on either side.
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Though the church has no architectural interest, nevertheless it contains some old portable icons as well as some old furniture. Ayios Savvas Church The church is monotholus built. At the west end is a narthex dividing, as is often the case, the west wall of the church from the boundary of the road. Inside the building a few relics from the more ancient church on the site are still preserved.
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Archaeological excavations there have revealed the remains of an asiled basilica with a narthex and a polygonal apse. There may also have been an atrium. The basilica was a church and may have been built in 471 as an original part of the forum. It may have been the same church of Saints Peter and Paul that a hundred years later the augustus Justin II had (re)built in 571.
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In the interior there is a second floor which forms the female compartment which can contain 150 people, while on the first floor the church can hold more than 650 worshipers. The floor was covered with large square bricks but in 1923 they were replaced with mosaics. The edifice has three large doors made of oak. From the west and south there used to be a covered narthex.
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Klein (2006), p. 80 Following the end of iconoclasm, it was extensively rebuilt and redecorated by Emperor Michael III (r. 842–867). As restored, it was a relatively small building with a ribbed dome, three apses, a narthex and a "splendidly fashioned" atrium.Maguire (2004), p. 56 On the occasion of its rededication, probably in 864, the Patriarch Photios held one of his most famous homilies lauding the church's spectacular decoration.
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A monumental well still stands in the middle and is connected to a cistern which receives rain-water. The church, dedicated to the Virgin Mary as it is customary for Cistercian churches, was built on the north side of the cloister. The plain façade is adorned only with a rose window and a complex portal. It was further embellished with a three span narthex in the 15th century.
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The Mission style may have been deemed appropriate to the church's status as a "mission chapel," or offshoot, of St. Thomas' Church in Croom, Maryland. The chapel is constructed of poured-in-form concrete covered with a coarse pebble-filled stucco to resemble adobe. It is a one-story cross-gabled building with the entrance through the lower-gabled narthex. The structure is highlighted by a shaped parapet and bell tower.
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The west facade of the Frauenkirche is richly decorated with a central porch creating a narthex and an elaborate projection above flanked by two engaged stair towers. The portals on the porch are decorated on the west with sculptures of Adam, Eve, the Virgin, and prophets. On the left, the porch is decorated with male saints, while on the right are female saints. At the corners are sculptures of royal benefactors.
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Each side of the transept has an entrance, the south entrance leading into the cloister. The ceiling in the nave is higher than in the aisles, allowing for clerestory windows to give light to the nave. There is a separate narthex (entrance area) in the west. The presbytery in the east is separated from the nave by a stone wall, serving the same function as a rood screen.
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The architect for most of the structures was Francis Palmer Smith in cooperation with Ayers and Goodwin. It was consecrated to the glory of God in 1980. In 2004, St. Philip's engaged in a renovation of all existing structures and the addition of a large new wing north of De Ovies Memorial Hall as well as adding a glass atrium enclosing the former open-air courtyard adjacent to the Narthex.
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There is another hipped roof over the central bay of the narthex that houses the baptistery. Rising above the main roof is a short, square, central tower. Although clad in shingles, it suggests the Richardsonian Romanesque style and appears out of scale to the rest of the building. The tower features pinnacles on its corners and it culminates in a high-peaked roof with a finial on top.
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A coin of Magas of Cyrene circa 300 - 282/75 BC. Rev: silphium and small crab symbols. The identity of silphium is highly debated. It is generally considered to belong to the genus Ferula, probably as an extinct species (although the currently extant plants ', Ferula tingitana, Ferula narthex, and Thapsia garganica have historically been suggested as possible identities).Alfred C. Andrews, "The Silphium of the Ancients: A Lesson in Crop Control".
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Joseph Gregori began to revitalize the parish beginning in 1949 and it became an independent parish in 1962. The education wing was completed the following year. The tower base, which serves as the narthex, was originally on the northeast corner of the main facade. It was moved to the other side in the 1960s and the second level of the tower and the spire were added at that time.
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Among Greek Orthodox believers, the wedding sponsors, the koumbari, act as godparents to the first child. The baptism ceremony of the Greek Orthodox church involves several steps. It begins at the narthex of the church, where the godparents speak for the child, renounce Satan, blow three times in the air and spit three times on the floor. After reciting the Nicene Creed, the child's name is spoken for the first time.
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It has, or originally had, a tetraconch plan with a central dome enclosed by a tower, which renders it a unicum in the Byzantine architecture of Constantinople and, on a much smaller scale surprisingly anticipates those of many great Ottoman mosques.Mamboury, p. 249. The dome rests on a cross formed by four half-domes. The narthex has three bays, whose central bay is covered by a barrel vault.
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Balch remained the pastor of Georgetown Presbyterian Church until his death in 1833. Balch was originally interred in the narthex of Georgetown Presbyterian Church at 30th and M Streets NW beneath a small pyramidal marble stone. His remains were disinterred and reburied at Presbyterian Burying Ground (the church's cemetery) in the spring of 1873. They were disinterred again and reburied at nearby Oak Hill Cemetery on June 18, 1874.
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Ursicinus was a mandans (juridical client) for the Basilica of Sant'Apollinare in Classe. This is based on an inscription in the narthex of this church, handed down by the church historian Andreas Agnellus in the 9th century: :"B. Apolenaris Sacerdotis Basilica mandante Ursicino Episcopo a fundamentis Iulianus Argentarius aedificavit ornavit atque dedicavit consecrante Maximiano Episcopo.." His cemetery lies in the Basilica of San Vitale, in the chapel of Nazarius and Celsus.
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The church was constructed between 1850 and 1853. In terms of design, it features three semi-domes and an elongated cella. Single-nave domed chapels (each dedicated to Saints Cosmas and Damian and Saint John the Baptist) are attached to each side of the church, with three additional domes topping the cella's middle nave. At the entrance, the three parts of the church form a U-shaped external narthex.
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Main entrance and portico looking northeast. The interior of Old South is exuberant yet quietly modulates the mix of rich materials: highly carved Italian cherry woodwork, limestone, stenciled plaster, and stained glass. The sanctuary is entered from the narthex through a screen carved in the Venetian Gothic style from French Caen limestone. Hidden among the carved foliage that decorates the screen can be found a squirrel, lizard, owl, and snail.
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The local church in the settlement is dedicated to Saint Gertrude and belongs to the Parish of Hrenovice.Koper Diocese list of churches The church is an originally medieval Gothic structure that was reworked in the Baroque style in 1638, as indicated by the year carved above the entrance. The rectangular nave terminates in a slightly narrower chancel walled on three sides. The church has a bell gable above an open narthex.
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Around north of Berat, St. Nicholas’s Church is one of the oldest Byzantine monuments in Albania. Built in the 11th century, the basilica has three naves, a wooden roof, and a vaulted altar. The narthex and belfry date to later, and in 1786 the roof was rebuilt and arches added. Specialists from the Institute of Monuments conducted renovations in 1930 and 1970, but the antiquity of the church is still evident.
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The western entrance includes the narthex and bell tower. The building includes a mix of tuff and river stones bound with lime mortar, with no plaster on the outside but white plaster on the interior. The two-story roof is covered with lead and sheet metal tiles, and the façade includes semi-circular windows and similarly arched niches. An elaborate iconostasis can be found on the interior wall.
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Belashtitsa Monastery, BulgariaThe Belashtitsa Monastery () is a convent in the western Rhodope Mountains near the village of Belashtitsa at 12 km to the south of Plovdiv. It is dedicated to St George the Victorious. The monastery has been declared a monument of culture and consists of a church, chapel, dwellings and farm buildings. The church is one nave, one apse edifice with inner and outer narthex without a dome and frescoes.
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The mosaic was discovered, in 1952, in a ruined 4th-century Byzantine three-nave basilica. Fragments of the mosaic pavements were preserved in the apse, the spacious narthex, and baptistery. The surviving fragments were removed, restored, and laid on display at the Georgian National Museum in Tbilisi. The Pityus mosaic seems to have been inspired by the earlier Roman prototypes and reveals close stylistic affinities with Syro-Palestinian mosaics.
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St Joseph's is built of painted brick, with dressings in cast concrete and limestone, and roofing of Cornish slate. It was designed to accommodate 300 persons, and is made up of a narthex, nave, north and south aisles, clerestory, chancel, organ/choir gallery, baptistery, linked sacristy and attached presbytery. A large bell turret sits on the gable above the main entrance. The interior contains plastered walls, parquet flooring and pine pews.
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The church comprises a nave with chancel, west tower and west narthex. It was remodelled in 1858 by Henry Isaac Stevens. The church's website provides these details: > The original Georgian church apparently consisted of a large rectangular > open-plan nave and Sanctuary with the altar at the east end. In the mid-19th > century the church was completely redesigned and extensively “Gothicised” in > 1858–59 by Henry Isaac Stephens.
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The altar, likely of South German make, depicts the Passion of Jesus was once gilded and painted. Those pieces of the set that remain have since 1978 sat on a standstone slab in the chapel. The church's narthex is Germany's oldest example of Gothic architecture – the "Paradise", built around 1220. The portal into the lay brothers' church contain the oldest datable doors in Germany, fashioned from fir wood in 1178.
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The brick facade is narrow, with a protruding center framed by Tuscan pilasters, and with a small central oculus. The narthex is octagonal, and leads to a single nave with a barrel vault. The main altarpiece is an oval depicting Santa Sperandia and the Miracle of the Cherries, wherein she was fed by an angel while residing in the cave of Monte Acuto. The canvas is painted by Pier Simone Fanelli.
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Christ Urbus, Boyana Church near Sofia. Thеre are original themes in the Transfiguration of God Chapel in the Hrelyo Tower situated in the Rila Monastery. In the dome is depicted the composition Sophia-Great Wisdom of God and in the narthex Psalms of David. The scenes Musicians and Horo are especially interesting because they represent the cloths and the way of living of the Bulgarians during the 14th century.
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The decoration of the Dormition of the Theotokos Cathedral began after 1949 under Professor N. Rostovtsev, who donated the narthex murals. The chandeliers that were then installed were the work of woodcarver P. Kushlev. The large painted windows were installed in the 1960s. Saints Cyril and Methodius are depicted on the larger south ones (looking towards the square), while the north ones portray St Angelarius and St Clement of Ohrid.
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Her full name was Olga Daisy Beatrice Bamford, and a single daisy appears in this panel close to the figure of St. Margaret. St. Margaret carries loaves in her apron, symbolising her concern for the poor. The inscription reads "Deo gloria Mariae honor piae memoriae Oswald Bamford in bello occisi Octr 13 1915 R.I.P. amans uxor posuit." The war memorial window in the Narthex is also of three-lights.
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These now compose the churchyard itself, while the denominational school, parsonage, curate's cottage, columbarium and Youth Centre are located on the original grant. ;The Church The stained glass windows in the sanctuary, aisle and narthex were installed at or shortly after the time of construction. Some clerestory windows, being less visible, were progressively installed between 1886 and the 1920s, with isolated exceptions completed in the 1950s and 1960s.
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Also on the property is the church cemetery with headstones, dating from the 18th and the early 19th centuries through the 20th century. A violent rain storm in 1950 severely damaged the roof of the 40 feet wide by 54 feet long church leading to a collapse of the chancel and nave, leaving only the narthex intact. It was listed on the National Register of Historic Places in 2008.
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In 1844, five altars, dedicated to Mithras, were discovered near the site, now known as the Rudchester Mithraeum. It is believed that these come from a temple to Mithras, situated to the south east of the fort. It appears that this was built in the third century and was deliberately destroyed in the fourth century. The building was long and wide with a narthex, or vestibule, attached to the front.
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Down Thames Street – a pilgrimage among its remaining churches, Rogers, M., p. 124–5: London, 1921 One of these is on display in the narthex of the church. The whereabouts of the other, which was misappropriated and sold at auction in 2003, is currently unknown. In 1896 many bodies were disinterred from the crypt and reburied at the St Magnus's plot at Brookwood Cemetery, which remains the church's burial ground.
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Among his other endeavors, Sava composed the "Studenica Typikon", a liturgical book of orders where he described the life of Saint Simeon (Nemanja), leaving evidence of the spiritual and monastic life of his time. Studenica enjoyed continual care by the members of the Nemanjić dynasty. King Radoslav added a splendid narthex to the church in 1235. King Milutin built a small but lovely church dedicated to saints Joachim and Anna.
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In the design Byrne mixes Neogothic style (the emphasis on the vertical and the lancet windows) with Art Deco (the areas of wall space) with a modern feel that could be Prairie School influence. Inside the front entrance is a wooden narthex which supports an organ balcony. Stained-glass windows depict Old Testament prophets, the evangelists, and St. Patrick. The Stations of the Cross and Mary and Joseph appear in bas-relief panels.
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The exterior is constructed largely from Pennsylvania sandstone, with Indiana limestone used for the trim. On the western end of the chapel is the narthex, which has entrances on the north, west, and south walls. An additional door on the chapel's north side opens onto the Hibben Garden, named in recognition of John Grier Hibben's role in the chapel's construction and dedication. The garden of evergreens was designed by H. Russell Butler, Jr.Rhinehart, p. 52.
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Abbot Odilo of Cluny, who resided more than once in Romainmôtier, had the present church built at the end of the 10th century. This church was modeled after the second church of Cluny Abbey (Cluny II). At the beginning of the 12th century, the church was modified by the construction of an ornate narthex and in the 13th century of a gatehouse. The last modifications were made to the church in 1445.
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Extensively repaired following a severe storm in 1819, the church also suffered damage from artillery fire on 21 July 1833 during the Siege of Porto. Over the years the church has undergone structural modifications and improvements, including the replacement of stained glass windows in 1967. The new ones were created by the artist Isolino Vaz. During 1996 renovation works to the narthex, an area that corresponds to the original chapel's churchyard, nineteen graves were discovered.
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The centrepiece of the Nativity complex is the Grotto of the Nativity, a cave which enshrines the site where Jesus is said to have been born. The core of the complex connected to the Grotto consists of the Church of the Nativity itself, and the adjoining Roman Catholic Church of St. Catherine north of it. Plan of the Church of the Nativity from the 1911 Encyclopædia Britannica. (1) Narthex; (2) nave; (3) aisles.
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The church was begun in 1158, by order of bishop Guido II of Teramo, in order to house the relics of Saint Berardo after the destruction of the former cathedral of Teramo, Santa Maria Aprutensis, by Robert of Loritello in 1155. Plan of the cathedral The edifice was finished in Romanesque style and consecrated in 1176. It had a nave and two aisles and a raised presbytery. Most likely it also had an external narthex.
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In 1961 a replacement roof, also made of timber, was installed when the church began to be used as a barn. The roof had fallen once again as the weather took its toll in the late 2000s. Currently, the church has a metal roof to protect the interior of the church from the elements. There was a narthex or zhamatun at the western end of the church, but it has entirely disappeared.
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St. Philip's Episcopal Church is a historic Episcopal church located at 256 E. Main Street in Brevard, Transylvania County, North Carolina. It was designed by architect Louis Humbert Asbury and built in 1926. It is a tall one-story, Normanesque Revival style stone structure on a nave plan, with a narthex/tower on the main elevation and a chancel on the rear. It has a two-story bell tower and stained glass windows.
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Superimposed plans of churches 2 and 3. During the excavation, the sole trace of the second church — the foundation of an irregular three-sided apse— was found. How the building was constructed toward the narthex remains unclear. However, it is known that this side ended with a tower because Jehan Camal, the local priest, bequeathed 50 livres towards the repairing of the tower and the installation of a bell in his will of 1517.
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Another annex, to the south, was a columnated narthex which is now in ruins. Southeast of the church is a free-standing stone bell-tower built in a rectangular plan. Completed in 1278, it is the oldest extant dated bell-tower in Georgia. It is a two-storey building, with the lower level open, the upper one being a hypostyle hall with eight arched pillars, and a small cell rested in between them.
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Above the door from the southwest vestibule to the narthex another mosaic shows the Theotokos with Justinian and Constantine. Justinian I is offering the model of the church to Mary while Constantine is holding a model of the city in his hand. Both emperors are beardless – this is an example for conscious archaization as contemporary Byzantine rulers were bearded. A mosaic panel on the gallery shows Christ with Constantine Monomachos and Empress Zoe (1042–1055).
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The monastery of Grottaferrata founded by Greek Basilian monks and consecrated by the Pope in 1024 was decorated with Italo-Byzantine mosaics, some of which survived in the narthex and the interior. The mosaics on the triumphal arch portray the Twelve Apostles sitting beside an empty throne, evoking Christ's ascent to Heaven. It is a Byzantine work of the 12th century. There is a beautiful 11th-century Deesis above the main portal.
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Victor Mallan. In 2006, the present Chancel Organ was installed (replacing the previous instrument from 1981 which had come to the end of its useful life) to accompany the choirs. Alongside this, a new ring of 10 bells in the key of E, replacing a heavier ring of 8 bells which dated from 1782, and which, by all accounts, weren't very easy to ring. In 2008, the Narthex, Sacristy and lavatories were refurbished.
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Removed from ownership of the Bernardine monks in the second half of the 19th century, the complex of buildings was donated to the Orthodox community of Lutsk. In the 1870s, the church was reconstructed by adding a bell tower above the narthex and a central dome. Nowadays the church is the Holy Trinity Cathedral, belonging to the Ukrainian Orthodox Church. The former Bernardine monastery is used as a library and for small shops.
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The marble statues of Mary and the Sacred Heart against the north walls of both transepts were carved in Switzerland and brought to the earlier 3rd and Stark Street cathedral by the Benedictine monks, who later founded Mount Angel Abbey. The Narthex doors' glass etching contains subtle symbols of the seven Sacraments. The transept windows date from the 1870s and were brought from two earlier cathedrals, as well as the Archbishop's Chair.
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Early 20th- century work to the church includes the Rood screen (designed by George Frederick Bodley), the English Altar and altar rails (designed by the Bromsgrove Guild), and restoration work to the Trinity Chapel (instituted by C. E. Mallows). Later in the 20th century, from the mid-1970s to 1982, the church was restored and otherwise improved. In 2014 new work was completed on a Narthex at the west end of the church.
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With iconostasis and wall in narthex, the interior is divided in three rooms. The church is known for its painted and exquisitely ornamented, carved western doors. The church hosts some 50 artifacts, including icons made by unknown artists but also by the icon painters Ilija Petrović and Nikola Janković, artistic crafts and books from the 17th century, etc. One of the most valuable items is the large carved cross of Hadži-Ruvim from 1800.
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The church is constructed in limestone with a slate roof, and is in Early English style. Its plan consists of a six-bay nave without aisles, a west porch and narthex, and a chancel. At the west end, the central portion projects forward and is gabled. This portion is flanked by octagonal buttresses, and there are stepped buttresses at the corners of the west front; all the buttresses are surmounted by pinnacles.
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Once inside the narthex, a small shrine enclosed by glass walls is off to the left. Inside is a hand-carved wooden statue depicting the Virgin Mary as Our Lady of Good Voyage. In one hand she holds the infant Jesus and, in the other hand, she holds a ship. The statue, which was originally placed in the old chapel, came from Oberammergau, a village in Germany known for producing religious art.
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Bede recorded that Augustine reused a former Roman church. The oldest remains found during excavations beneath the present nave in 1993 were, however, parts of the foundations of an Anglo-Saxon building, which had been constructed across a Roman road. They indicate that the original church consisted of a nave, possibly with a narthex, and side-chapels to the north and south. A smaller subsidiary building was found to the south-west of these foundations.
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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.
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The chapel is constructed in brick and concrete with a Portland stone covering and has copper cladding to the roof and flèche. The wide nave has four bays. At the west end there is single-bay narthex, and at the east end is an apse forming the sanctuary, and projecting vestries. In the west front are double doors over which is a low relief of the Holy Trinity carved by David John.
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Constructed in 1931, the structure was built of reinforced concrete, with the outside finish, simulating brick, created by a poured cast. Red, Spanish tile shingles cover the roof. A prominent, 70 foot (21 meter) bell tower stands in the center of the south facade, forming part of what was the vestibule and narthex of the church. The south side of the church also features large white oak doors with decorative arches above them.
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The nave is topped by a ceiling fabricated on tongue and groove wooden planks painted white. Three large stained-glass windows, framed by wooden molding and recessed approximately , are symmetrically located on the northeastern and southwestern walls. The lower portion of each window contains a memorial dedication, which opens into its lower hopper sash. On the northwestern side of the interior are the two main entry doors, which access an unadorned narthex.
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View from the northwest, with former tower and narthex The church has a rectangular nave and a slightly narrower squared-off chancel. It originally had a bell tower to the west that was torn down. The base of the tower remains with a gabled roof, and the church has a ridge turret. The east gable of the tower is masonry up to the ridge, but the gables of the nave are made of wood.
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A large western porch (narthex) and the tower and bells were added over the following few years. Electric heating and lighting were installed in the mid to late 20th century. The lighting was partly paid for and installed, for Christmas 1944, by the naval personnel stationed on HMS Curlew, the Clyde submarine defence base in Innellan. Stained glass was added over the years, and a new pipe organ was bought in 1882.
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Egner and confirmed at the church. He was active in the church's Cub and Boy Scout troops and attended P.S. 127, McKinley J.H.S. and Fort Hamilton High School (Class of 1960) and Long Island University. He worked in brokerage houses, retiring from Lehman Brothers. He was a dedicated elder, providing hospitality in the narthex every Sunday with his buddy Frank McCarthy, counting the offering, and participating in worship and all church functions.
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St. Nicholas Church The Orthodox church of St. Nicholas () was built between 1576 and 1577. Its narthex was added later at an unknown time. The church's painting of Iconostasis is considered to be from the early to middle 19th century. One part of a wall hidden underneath the church, which was discovered by a priest, features frescoes, indicating that the current church of St. Nicholas was built upon older remains of an unknown church.
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This axially-planned, symmetrical one-storey brick building is east of the former Girls and Infants School and also conforms to a basilica-like plan. Separate, steeply pitched gabled roofs express the narthex and nave and the main entrance is from a five-sided apse porch to the north. The building sits on stone foundations and the verandahs to the east and west rest on low brick piers. The verandahs have been enclosed.
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The church was decorated by Aggelos Binetas from the village of Sarpi. The Church, a triclit basilica, is impressive as it towers over the village, built on a small hill on the northwestern area of the village. It has an impressive screen (τέμπλο) with elaborate carvings, gold plated and icons painted by Gregoris Papamalis. The columns of the outer narthex are made from marble and most probably belonged to an earlier building.
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The mosque has a rectangular plan along a northwestern-southeastern alignment. The entrance is through a sharp pointed arch above which the inscription detailing the repair is located. The corner near the entrance is divided from the rest of the building to make a tomb, and from the tomb towards the opposite side, another wall is placed to create another room for visits to the tomb. A three-arched narthex is present at the front.
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A chalice from the 1820 visit of Philander Chase, Bishop of Ohio is on display in the narthex set in a niche. It was listed in the National Register on March 25, 1982, significant primarily as striking example of Gothic Revival architecture. An organ originally built in 1962 by the Schlicker Organ Co. of Buffalo, New York and renovated and updated by Peebles–Herzog Inc. of Columbus, Ohio in 2006 is installed in the church.
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At that time the rectory was also renovated, with the first-floor rooms converted to Sunday school classrooms and office space and the second floor becoming the pastor's apartment. The screen that creates the narthex space in the church sanctuary was brought in from another church at some point. It uses classical detailing instead of the Gothic detailing that dominates the space. Two of its eight stained glass windows are believed to be Tiffany glass.
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The sanctuary has two sets of pews divided by a broad center aisle. A serpentine balcony supported by iron columns covers the northern third, with a glazed screen creating a narthex. At the south end, a pulpit and lectern front a dais with Communion table in front of a dossal curtain is set in a crenellated Tudor Gothic wooden surround between two sets of organ pipes. On either side are the choir risers.
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However, these are hidden beneath the roofs of the aisles. The earliest pointed vault in France is that of the narthex of La Madeleine, Vézelay, dating from 1130. They were subsequently employed with the development of the Gothic style at the east end of the Basilica of St Denis in Paris in 1140. An early ribbed vault in the Romanesque architecture of Sicily is that of the chancel at the Cathedral of Cefalù.
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The Lateran Baptistery, Rome, 440 The sacramental importance and sometimes architectural splendor of the baptistery reflect the historical importance of baptism to Christians. The octagonal plan of the Lateran Baptistery, the first structure expressly built as a baptistery, provided a widely followed model. The baptistery might be twelve-sided, or even circular as at Pisa. In a narthex or anteroom, the catechumens were instructed and made their confession of faith before baptism.
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In the mid-17th century, a narthex and burial vault were added to the south wall by Elise Saginashvili, bishop of Tbilisi, as related in a Georgian inscription above the doorway. The interior was once plastered and frescoed, but only insignificant fragments of the wall paintings survive. The outer walls are adorned by carved stone ornamentation. A nearby located two-storey bell-tower and a separate house for the archimandrite also dates from that period.
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The project became inactive when Garth departed to join the United States Air Force and Genaro relocated to the dormitories of Philadelphia's Temple University. While in Philadelphia, Genaro met Schulthise and Sabatino through mutual friends. The three began loosely rehearsing together in 1981, taking their name from Genaro's home- recording project. Sabatino was the only member with experience in rock groups, having played previously in the two-piece new wave band Narthex.
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Matthew Richardson, J.S. Lakin, and J.N. Ballou finished the interior, which included its furnishings. The name of the congregation was changed to St. Barnabas in 1881. The women of the parish raised the money for the bell tower and narthex, which were built c. 1902. A second-hand bell had been given by a St. Louis parish and hung on a frame structure at the Methodist Church until this tower was built.
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In total, there are five octahedral domes and six doors. Two enter the narthex, two serve the side chapels and a single door is intended for the priest to step into the diaconicon. The church's stone columns were the work of stonemasons from Elovitsa. The iconostases were carved by masters from Samokov; the main iconostasis was created by Stoycho Fandakov in 1863, and he was probably the author of the side chapels' templa.
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Concealed now by the Churrigueresque west front, the porch or narthex is no longer viewable from the exterior. The church is responsible for the preservation of the portal to this day. The doors were never closed day or night in the Middle Ages.In 1866, London's South Kensington Museum (today the Victoria and Albert Museum) displayed a full-scale though unpolychromed replica of the Portico de la Gloria, which exemplified the twelfth-century Iberian Romanesque.
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The tower is very high and consists of three sections. The two inferior sections are integrated into the temple, the lower section forms the narthex of the church and the other section forms the choir-gallery. Some interesting artistic elements still survive on the inside of the building. These include the altarpiece and several side altars dedicated to the Our Lady of Mount Carmel, the Nazarene, the Immaculate Conception, Dolorosa or Our Lady of Guadalupe.
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Marmiroi church () is a church near Pashaliman, Vlorë County, Albania. It is a Cultural Monument of Albania. The church is mentioned in historical records for the first time in 1307. Since it has no narthex, and because of other similarities to other similar churches in Bulgaria and former Yugoslavia, it is thought to have been built in the 12th or 13th century AD, although some researchers have put its construction period in the 10th century.
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Built in the 18th century, the church follows the pattern of many Eastern Orthodox churches with its east-west axis. The main entrance is from the south, and the entire church is around by . The masonry uses local stone and the roof is covered in roof tiles typical of the area. The church features a main nave by the entrance and both an outer nave to the south and a narthex to the west.
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The rood screen was replaced by a wrought-iron lattice in 1692. A simplified, low-ceilinged upper floor was added to the narthex in 1731, a porch was constructed at the northern portal in 1735. From 1799 to 1828 the high central tower was demolished and replaced by a lower pyramidical tower. In 1868, a storm caused the southern tower spire to collapse during a mass, killing 21 and injuring 31 people.
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The chapel was constructed by the village staff; it is from several architectural styles used in rural Mason County churches. The window in the narthex was financed by Scottville United Methodist Church. The sanctuary window, a memorial to an early Ludington pharmacist, and a Calvary cross were a gift from Grace Episcopal Church in Ludington, Michigan. One of the organs in the chapel was built around 1860 by the Star Organ Company.
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Its plan consists of a three-bay narthex (entrance hall), a seven-bay nave with a clerestory, narrow aisles, and a chancel with a polygonal apse. At the south end of the church is a three-arched structure resembling a bellcote, but without bells. Below the arches is a niche containing a statue of Christ, and under this is a rose window. The bays along the sides of the church are divided by gabled buttresses.
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St Andrew's is constructed in sandstone ashlar. The spire is roofed in stone slates, and the rest of the church in red tiles. Its plan consists of a five- bay nave with a porch, a south baptistry projecting at the western end, a chancel at a higher level with a vestry to its north, and a north tower. The porch is open, forming a narthex, and is supported on grey stone columns with foliated capitals.
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In the west window and in the two narthex windows is stained glass designed by Horace Wilkinson in 1920–21. The first stage of the organ was built by Peter Connacher and Son in 1888. It was completed when the nave was built in 1891 and rebuilt by John Cowin in 1960. Hubbard describes the church as "an extraordinary building" and suggests that it might be Douglas' "prodigy church of its decade".
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The cathedral is a modern, light building similar in some ways to the Roman Catholic cathedral in Liverpool. The building complex includes the sanctuary, the nave, the Blessed Sacrament chapel, the sacristy, the church hall, the narthex (the entrance porch) and the campanile. There is also a repository where devotional aids, rosary beads, cards, and the like may be purchased. It was built to match the liturgical changes decreed by the Second Vatican Council.
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It was then damaged again by the 740 Constantinople earthquake on October 20, 740, about six months before the death of Leo III. The Emperor Constantine V ordered the restorations and had its interior decorated with mosaics and frescoes. Some restorations from this time have survived to the present. Reconstruction during the reign of Justinian I shows change in the architecture of the atrium and narthex, which stayed intact after the earthquake.
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The only later addition to the building is the narthex; otherwise the church, albeit damaged, still retains its original form. The presence of huge lintels finished off using a highly professional technique hints to a usage as an imperial or burial chapel. Pilgrims traversing Anatolia on the way to Jerusalem along an ancient route could readily reach the church. Gertrude Bell (1868–1926), the British archaeologist and writer, photographed and measured Kizil Kilise in 1907.
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It is accessible through a poor road only after crossing the Georgian border checkpoint. The monastery consists of a main church, named after Resurrection, two small chapels (one of them possibly a pastophorium, i.e., a chamber to the side of the apse), and a ruined narthex. The main church is a refined hall church design, architecturally dated to the 9th or 10th century and stylistically resembling features of the churches in Javakheti and Tao-Klarjeti.
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It is preceded by a vestibule that is under the narthex and whose vaulted covering supports the belfry. The walls of the nave have, on either side, a door that connects it to the exterior and three high windows. Opposite the epistole, to the right of the door, is a pulpit with large stone corbel and balustrade guardrail in wood. The door to the pulpit is the only one with double lintel surmounted by cornice.
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The church is constructed with uncoursed local rag-stone and flint walls and plain tiled roofs. The nave is flanked by aisles on each side and the chancel has a vestry on the south side. The tower at the west end of the nave has a narthex on its west side, being the remains of an earlier church. The tower is formed in three stages with buttressed corners and a battlemented parapet.
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The Queen's College Charter Window above the chapel's narthex was donated in honour of Rev. Theodorus Jacobus Frelinghuysen, who was instrumental in founding the college. Among the stained glass windows at Kirkpatrick Chapel are approximately twenty lancet windows along the chapel's side aisles that were donated by graduating classes at the turn of the nineteenth and twentieth centuries (1890–1912). These windows depict their class year and phrases in Ancient Greek and Latin.
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In 1957 excavations moved to the 3rd or basilica church. This doubled aisled church with an eastern apse and western atrium and narthex, is by far the largest church to have been found at Mikulčice. It may have served as a cathedral. It was surrounded by a graveyard of about 550 burials, some of which were very rich and included five burials with swords (nos 341, 375, 425, 438, 500 and 580).
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There he found a rock into which he carved a chapel. To this day one can see the narthex, naos, and altar, as well as an underground room, also carved out of the rock, in which the saint dwelled. Stephen the Great came here in 1451, after the assassination of his father Bogdan II, at Reuseni. Daniil prophesied that Stephen would return and would become the ruler of Moldavia, which did occur in 1457.
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The monastic complex contained two churches: St. Sandukht and Surb Astvatsatsin ("Holy Mother of God"). The mausoleum of Gregory of Narek was located to the east of the St. Sandukht church. The church of Surb Astvatsatsin had a "domed hall" design, and was located south of St. Sandukht. In 1787 vardapet Barsegh built a rectangular, four-columned gavit (narthex), on the tombs of Hovhannes vardapet (the brother of Gregory) and the philosopher Ananias of Narek.
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The church is rectangular with a gabled nave, smaller narthex and an engaged bell tower. Its central section, faced with granite trimmed with limestone, is three bays wide by five deep. In addition to the non-contributing connecting wing, it has another one, polygonal in shape, that is original to the building although greatly modified since then. South Presbyterian's exterior has lancet windows with wood tracery, limestone hoods and diamond-shaped bosses.
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The exterior suggests a vernacular form created by a local craftsman. It utilizes religious symbolism as decorative elements, such as the triangular hoods on the windows and doors that refer to the Holy Trinity. The narthex on the interior reflects the Victorian period of its construction, while the sanctuary reflects the Classical influences popular when the 1915 addition was constructed. The building was listed on the National Register of Historic Places in 2010.
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Finally, on the western side of the monastery complex there is a bell tower, erected in the 13th century. There used to be a chapel inside; now, only fragments of frescoes can be seen there. Remains of fresco painting have also been numbered on the external part of the narthex, splendidly representing the Nemanjić dynasty genealogy. They obviously relate to the frescoes from the Virgin's Church which date back to 1208-1209.
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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.
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The aisles are low with a high level celestry and the Sanctuary and Chancel at the western end were substantially extended in the 1890s and 1960s. There are a number of fine stained glass windows from various periods. A high Nave and stained glass window above the gallery by John Hardman and Co dominate the western end. The brick and stone crenelated tower marks the original west end prior to the addition in the 1960s of a Narthex.
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The church lies at the northeastern foot of the Trapezitsa and Tsarevets hills, on the right bank of the Yantra River, outside the city's medieval fortifications. Architecturally, it has a pentahedral apse and a cross-domed design with a narthex and a fore-apse space. It was once part of a large monastery and belonged in its southeastern part. The church's exterior is decorated with blind arches and colourful ornaments: glazed rosettes, suns, rhombs and other painted figures.
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Portrait of Emperor Dušan Similarly to its architecture, the wall paintings of Lesnovo all come from a short time span. The original church was painted in 1346–47, the narthex in 1349. There were four painters of whom are known the names of the three, inscribed in medallions (Sevasto, Mihail and Marko). One of them has also painted his self-portrait, seated by the river of knowledge coming from the teachings of one of church fathers.
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Today, the church is surrounded by the modern, high buildings. The influence of the Islamic style of construction is visible in the decorative elements - ornaments on the northern door, divider between the naos and narthex, connection of the gallery with the bell tower, etc. The church has a rich collection of icons, some of them predating the existence of the church. Especially valuable is the refined depiction of the Christ Pantocrator on golden background, in the Italo-Cretan style.
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To the west is the tower, again flanked by a north and south narthex. Wren spanned the square space by a barrel vault in a Greek- cross plan, with a dome at the centre, supported on four columns. If Henry Bell drew his inspiration from any one of Wren's churches, this would be the one. The barrel-vaulting though in All Saints' is much flatter than in St Mary-at-Hill, which has semi-circular vaulting.
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The mosque consists of a three-aisle square prayer hall covered with a hipped roof, a narthex and porticos facing east and west. Two symmetrical octagonal minarets rise through the porticos; they are twenty-eight meters high and have conical caps and finials. A domed wudu kiosk of square shape is attached to the northeastern corner of the mosque. It is believed that a madrasah built by Khan Arslan Giray in 1750 used to adjoin the eastern wall.
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The church was built in 1812 in the Federal style and is a three-by-five-bay, heavy timber framed, building sheathed in wood shingles and covered by a gable roof. The center bay features an bell tower / narthex. The burial ground was established in the 1660s and contains approximately 800 gravesites. See also: The church grounds were the site of a Loyalist fortification that was attacked by Continental Army forces from Connecticut in August 1777.
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The monastery was built on the foundations of earlier Christian basilica which was, according to the local legend, built by Constantine the Great and Helena. Slava of Dobrićevo Monastery is Presentation of Mary. The legend says that narthex was built after the main church building by members of the Aleksić family whose descendants still lived in nearby Oputna Rudina village at the beginning of the 20th century. During its history the monastery was destroyed or damaged many times.
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Minaret The Big Khan Mosque () is located on the Palace Square to the east of the northern gate. It is one of the largest mosques in the Crimea and one of the first buildings of the Khan's palace. The mosque was built in 1532 by Sahib I Giray and bore his name in the 17th century. The mosque consists of a three-aisle square prayer hall covered with a hipped roof, a narthex and porticos facing east and west.
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Hospitalskirken in Trondheim - the oldest octagonal church in Norway. Wilhelm von Hanno: Trinity Church with its octagonal dome An octagonal church has an octagonal (eight-sided polygon) architectural plan. The exterior and the interior (the nave) may be shaped as eight-sided polygon with approximately equal sides or only the nave is eight-sided supplemented by choir and porch (or narthex) attached to the octagon. This architectural plan is found in some 70 churches in Norway.
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The Door of the Dead, also known as the Door of Death, is a bronze door sculpted by Giacomo Manzù between 1961 and 1964 by commission of Pope John XXIII. The door is located on the leftmost side of the narthex of St. Peter's Basilica, in the Vatican City, and leads to the interior of the basilica. It is called the Door of the Dead because it was traditionally used as an exit for funeral processions.
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St. Luke's Episcopal Church is a historic Episcopal church complex located at Brockport in Monroe County, New York. The complex consists of an 1855 Gothic Revival-style church of Medina sandstone and 1903 Romanesque style parish hall. The eastern chancel window features a tripartite composition executed in favrile glass by the Tiffany studios of New York. A second grouping of three Tiffany favrile glass windows is located on the western wall of the nave above the narthex.
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The present cathedral was designed by architects Parfitt and Prain, the cathedral is Norman-Gothic in style. The chancel was extended by eight feet in 2005 to allow for use of a chancel altar. All the furnishings in the chancel, with the exception of the organ console, can be removed, providing space for concerts, dance recitals, plays and other activities. In 2004 a sound and light booth, coat racks and library were installed in the narthex.
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Its fresco paintings are completely preserved and can be dated to the 14th century; the only exception being those in the narthex that was built during the 17th century. The most recent and last restoration to the building took place during the 19th century. The monastery is well known for its collections of unique icons, wood carvings and especially for its fresco art that differ from others of the same period due to its unusual compositions.
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St Mark's exterior is faced with stone from the Hurdcott Quarries, with dressings and window tracery in Doulting stone. The interior uses stone sourced from Corsham Down. The initial phase of work carried out in 1892–94 provided accommodation for 500 persons. The church has a Cruciform plan and is made up of a five-bay nave (with aisles, narthex and flanking spaces), transepts, crossing tower, two-bay chancel with south chapel, south porch, annexe and organ gallery.
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In 1868 he painted the church in the village of Balanovo. In 1873 he painted the vaults in the southern side of the narthex in the Church of the Holy Mother of God. After the crushing of the April Uprising he was suspected for being a rebel and arrested in Dupnitsa and then imprisoned in Sofia. After the Liberation of Bulgaria he was appointed in the Agricultural fund in Dupnitsa and remained in the position until his death.
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Nikopol Side view The Church of Saints Peter and Paul (, tsarkva „Sveti sveti Petar i Pavel“) is a partially preserved medieval Eastern Orthodox church in the town of Nikopol, which lies in north central Bulgaria on the south bank of the Danube and is administratively part of Pleven Province. The church was built in the 13th or 14th century and was decorated with brick and marble patterns. The west part of the church (the narthex) is entirely in ruins.
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The Baptistry and the proposed Narthex in 1883 were added in 1905 and was the last of the major building work to take place. The church, rather surprisingly, survived the war years with only a few windows being damaged. The damage to these windows can still be seen in the East window of the Memorial Chapel and the West windows at the back of the church. Damage to one of the Baptistry windows is also visible.
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The 1267 earthquake caused significant delay in the construction of the nave. Archbishop Giovanni del Conte, oversaw the completion of the nave and the narthex until 1319 and that of the middle aisle, the buttresses of the chevet, the façade and a chapel/baptistery from 1319 to 1326. He also initiated the adornment of the cathedral with frescoes, sculptures, marble screens and wall paintings. In 1326, the cathedral was finally consecrated and officially inaugurated with a great celebration.
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Under the administration of Metropolitan Costachi, the porch was extended to become a narthex accommodating a bell tower (built in brick), while the existing stone tower was redesigned to resemble the new one, and the windows covered and replaced with ten new and larger ones. Particularităţi arhitectonice, at the Socola Church official site, p.2; retrieved August 24, 2009 Alongside the new tower design (which echoed the onion dome shape), the era also added a roof without eaves.
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The belfry has louvered, pointed openings, and is topped by paneled parapets, replacing the original spire and pinnacles. The original church facade contained a Gothic portal flanked by secondary entrances, but these have been covered by the addition. The 1915 fellowship hall is a two-and-one-half-story, rectangular structure with a hip roof and a small corner tower. The 1950 narthex addition was designed to harmonize as much as possible with the historic structure.
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The building is constructed of cement in Gothic style. Its façade is flanked by twin spires, and features a large, quadruple lancet window at its centre. The eastern and western flanks of the edifice have pointed arch stained glass windows, which cast a light- green hue all throughout the church's interior. A large, newly constructed choir loft looms above and over the narthex and entrance to the nave, which has a high ceiling with decorative hanging lamps.
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It was finished and consecrated by Pope Innocent II around 1132 AD. The church was regarded as one of the wonders of the Middle Ages. At in length, it was the largest church in Christendom until the completion of St Peter's Basilica at Rome. The church consisted of five naves, a narthex (ante-church) which was added in 1220 AD, and several towers. Together with the conventual buildings, it covered an area of twenty-five acres.
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It was not until 1797 that Patriarch Gregory V was able to begin large-scale restoration work. The current state of the church largely dates from this rebuilding. The church has the plan of a three-aisled basilica with three semicircular apses on the east side and a transverse narthex on the west. The interior is divided into three aisles by colonnades, with the tall pews of ebony wood placed along the line of the columns.
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Shortly after the church's reconstruction, its narthex was destroyed by an earthquake and rebuilt in 1503. The church suffered further damage (particularly to its south wall) during earthquakes which impacted the region of Sofia in the 16th and 17th century, and was repaired in 1611. An exonarthex was added in the 18th century. Inside the monastery courtyard next to the small original church lies a new and bigger one, dedicated to the Intercession of the Mother of God.
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The church was built in a 13th-century (Early English Gothic) style as part of the Gothic revival movement. It was built out of local sandstone in a cruciform layout with a flat-roofed tower and belfry. It was then expanded in 1865 with an extra aisle and pews added and connected to the nave with a pointed arcade. In 1913 it was expanded again with a narthex porch added on the west side of the church.
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Each side of the pendentive has high reliefs depicting head of a sheep, heads of a bull and anthropomorphic figures. According to Yakobson, sheep and bulls were considered holy animals in this period and are used as protectors of the structure. The narthex (gavit), measured , is a square-plan hall with two columns near the eastern wall that support the roof. It is very similar to the gavit of the Holy Cross church of Haghpat Monastery.
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The stair turret is 10th- century; the spire and upper stages of the tower are 14th-century. In the 10th century the tower and stair turret replaced the narthex. This is one of four remaining Anglo-Saxon stair turrets in England, and is similar to the one at St Andrew's parish church, Brigstock, about northeast of Brixworth. A triple arch was inserted into the existing masonry of the west nave wall at high level, replacing an existing arch.
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In the dome is Christ Pantocrator surround by angels. A. and J. Stylianou report that the paintings of the dome were already "badly damaged" at the time of their studies in the 1960s and 1970s.Stylianou, A., and J. Stylianou, The Painted Churches of Cyprus: Treasures of Byzantine Art (London: Trigraph for the A.G. Leventis Foundation, 1985): 481. The paintings in the narthex are faded due to sunlight, but include a notably large depiction of St. George.
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The naos is the central liturgical area and bema the sanctuary. On the other hand, a radically abbreviated, "compact" form of the cross-in-square existed, built without narthex and with the three apses adjoining directly onto the easternmost bays of the naos. This plan was particularly common in the provinces, for example in southern Italy,For example, the Cattolica in Stilo, S. Marco in Rossano, and S. Pietro in Otranto. See Wharton, Art of empire, 139-45.
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The date of its construction is not known, but the earliest dated inscription on its walls is from 1031. It was founded by the Pahlavuni family and was used by the archbishops of Ani (many of whom belonged to that dynasty). It has a plan of a type called an inscribed quatrefoil with corner chambers. Only fragments remain of the church, but a narthex with spectacular stonework, built against the south side of the church, is still partially intact.
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The first tower, completed in 1875 along with the present Narthex and sanctuary, had begun to list by the late 1920s. The cause was determined to be the faulty footings and piles anchored in the soft former swampland. They were insufficient for the load of the tower. The congregation engaged the architectural firm of Allen & Collens to design a replacement campanile and a new chapel to be named in memory of the Reverend George Angier Gordon.
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Entering the church, via the narthex, visitors will see a stained glass window of St Michael by Tower. All the stained glass was badly damaged but some of the figures were saved and placed in new settings (most notably the east window and the Annunciation scene in the N.E. window). Here also is Tower's panel of the crucifixion. The 14 Stations of the Cross line the walls and were sculpted by Joseph Cribb, a pupil of Eric Gill.
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St. Catherine, St. Marina, St. Theodore the Studite and St. Pachomius are portrayed in the lower tiers on the walls. The south arcosolium features the scene of Christ Disputing with the Doctors, and the north one, the Presentation of the Virgin. Two highly revered Bulgarian saints are also represented in the narthex – St. John of Rila (the oldest surviving representation of the saint) and St. Paraskeva (Petka). The hermit St. Ephraim Syrus appears among the monks portrayed here.
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A local judge ruled the transformation of the former church to be illegal, and ordered it to be maintained as a museum.Hagia Sophia to remain museum Kerknet, 6 November 2013 However, it has remained a mosque. Between 2013 and 2018 the fresco's and opus sectile floor mosaic in the prayer hall were covered by immovable curtains and carpets, while the fresco's in the narthex remained uncovered. During renovation works from 2018 to 2020 the building was closed to visitors.
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Around this time artists included the image of grain being stored in the Pyramids as part of the Joseph cycle that adorns the mosaics in the atrium of St Mark's Basilica (San Marco) in Venice. In the third Joseph cupola in the north narthex there are two scenes that show Joseph in front of five pyramids.For the location of the cupola, see Dale 2014, 248, fig. 1.; color plates of relevant scenes on pp. 204-5.
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The oldest depiction of her, when she was ca. 12 years old is in the 1264 fresco of the burial of Queen Anna Dandolo (d. 1258) at the monastery of Sopoćani (the endowment of her father), shown with a low crown, and clothing closed up to the throat, similar to the male clothing, decorated with pearls on piping, although her appearance is anachronistic. She is depicted on a fresco in the narthex of Visoki Dečani dating to ca.
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St. Paul's Episcopal Church in Evanston, Wyoming is a small church in the Carpenter Gothic style. The church was built in 1884–1885, and at the time was the only Protestant church in a community dominated by Mormons and Catholics. In its early history it hosted Lutherans, Methodists and Presbyterians in addition to its Episcopalian congregation. The simple plan features a nave entered from a side narthex, with an apse set apart from the nave by a Gothic arch.
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At the same time a new vestry was added, the font was brought to the front of the church and the baptistery at the rear was enlarged to form a narthex. A large open space was also created at the front of the church by the removal of the choir stalls. The interior also has a wooden roll of honour, which lists the 70 people of the parish killed in the First World War. British Listed Buildings.
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Gonia Monastery church and courtyard Gonia Monastery is a Venetian-style fortress monastery. Its main church has a narthex, a dome, and a number of chapels surrounded by a courtyard. The courtyard area also contains the quarters of the abbot and monks of the monastery, along with the refectory and storehouses. Today, the monastery and its museum contain numerous Byzantine artifacts from the 15th to the 17th centuries, including Cretan icons by Parthenios, Ritzos, and Neilos.
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The backs of the pews are capped by a strip of aluminum similar to the trailing edge of a fighter aircraft wing. Above the narthex, in the rear, is a choir balcony and organ, designed by Walter Holtkamp of the Holtkamp Organ Company, and built by M. P. Moller of Hagerstown, Maryland. The organ has 83 ranks and 67 stops controlling 4,334 pipes. Harold E. Wagoner designed the liturgical furnishings for both the Protestant and Catholic chapels.
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A silver paten and silver flagon, the communion rail, a credenza and parts of two of the stained glass windows along with a few other artifacts were recovered and are now displayed in the Narthex. The Church was soon rebuilt to the original plans. The F4 tornado, which had its beginning north west of Woodstock cut a swath all the way to Waterford of approximately 60 km and at its widest point near Oxford Centre was about 400m wide.
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Demus, 3 In 1106 the church, and especially its mosaics, were damaged by a serious fire in that part of the city; it is not entirely clear whether any surviving mosaics in the interior predate this, though there is some 11th-century work surviving in the main porch.Demus, 5, 15–19 The main features of the present structure were all in place by then, except for the narthex or porch, and the facade. The basic shape of the church has a mixture of Italian and Byzantine features, notably "the treatment of the eastern arm as the termination of a basilican building with main apse and two side chapels rather than as an equal arm of a truly centralized structure".Demus, 5 In the first half of the 13th century the narthex and the new facade were constructed, most of the mosaics were completed and the domes were covered with second much higher domes of lead- covered wood in order to blend in with the Gothic architecture of the redesigned Doge's Palace.
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The narthex is a zone of transition from the busy world of everyday life outside, to a quieter and more intimate spiritual space within the cathedral. Narthex window 'Jubilation', by Henry Haig, Clifton Cathedral The West Country artist Henry Haig designed the windows [W on Plan]. The glass windows use a technique known as dalle de verre – shaped coloured glass pieces mounted in metal frames with epoxy resin – constructed from over 8,000 pieces of glass collected from England, France and Germany. The window closest to the Portal of St Paul [W on Plan] is titled 'Jubilation', intended to express the Catholic concept of joy in God's Creation, and prompted by the Second Vatican Council’s instructions on a duty of care for the environment.Vatican II ‘Sacrosanctum Concilium 4 December 1963 – Vatican Council II: Volume 1 ’The Conciliar and Post Conciliar Documents’ Reverend Austin Flannery OP ‘Pastoral Constitution on the Church in the Modern World – Gaudium et Spes’ The window nearer the Portal of St Peter is titled 'Pentecost’ [W on Plan].
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The portico is a space originally designed for preventing inclement weather. It was constructed in both rural and city churches, in front of the main door to protect it. In most cases they were made with a wooden structure that stood the test of time, but in many cases the construction was in stone resulting in galleries of great development, which in some cases were true works of art. The porticos were reminiscent of the narthex of the Latin basilicas.
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Three layers of frescoes inside the church have been preserved to this day. The earliest layer consists of three images of the martyrs of Edessa in the western arch dating to the mid-13th century. The second layer is the images in the narthex; it is stylistically influenced by the Italo-Cretan school from the time of the Council of Florence in the 1430s. The local bishop Ignatius took part in the council and may have propagated the idea of ecumenism.
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On 30 January 1913, St Joseph's Church was opened. The architect, George Drysdale, needed to design as large a church as possible on a triangular site, symmetrical in design and within the funds available. It is built of red brick and tile, stone only being introduced into the floor and doorways. At the west end is a narthex and two altars, one each in the Lady chapel and the Chapel of Holy Souls occupying the full width of the church at this end.
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St Catharine's is constructed in sandstone from Billinge and has slate roofs; it is in Early English style. Its plan consists of a six-bay nave with north and south aisles constituting one chamber, a south vestry and a short chancel. At the west end is a steeple linked to the nave by a narthex with stair-turrets in the angles. The tower is square and in two stages, with corner buttresses and pinnacles, and a gable at the top of each face.
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The façade is a Renaissance design by inspired by a plan proposed by Ventura Rodríguez for the Cathedral of Pamplona. Its construction was finished in the late 19th century, with the completion of the two side towers. The northern entrance's narthex is in Gothic style, dating to 1510-1530. Internally showing a starred vault, it is formed by three archivolts with a lintel showing Christ Pantocrator and with a pinjante (glove-shaped decorative pendant) that features a depiction of the Last Supper.
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The Basilica of Nuestra Señora del Rosario has three naves, the central one has a barrel vault and a dome over the crossing. Highlights the Spanish colonial style bars in the atrium, starring Manuel Belgrano's mausoleum, also remaining at the entrance to the church, which is composed of three arches leading to the narthex trellises. On each side, two doors, one on each tower, take to the aisles. Behind the altar of the aisle that the flags of the British battalions shown.
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Nave This huge church was built in Gothic style (with some Manueline influences) between 1475 and the 1550s to the design of Martim Lourenço, replacing an earlier Romanesque church of 1226. This church is one of a kind through its narthex with arcades in front of the church. The arcade is formed by seven arches with different forms (semicircular, pointed or horseshoe arches), a typical blend of Gothic and Moorish elements. The battlemented façade has conical or spiral-shaped spires.
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In the ruined town's centre, just below the citadel, stands Dmanisi's cathedral church of Sioni, an early medieval basilica with a three-bay nave and apse, and a richly adorned narthex added in the early 13th century. North of it, there is a small single-nave church of St. Marina, rebuilt in 1702, as revealed by a Georgian inscription above its southern portal. Farther to the northeast, there are ruins of two other small churches, which contain stones with Armenian inscriptions.
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Farther, to the northeast, there is small single-nave church of Saint Marina, rebuilt in 1702 by Isakhar, a caregiver for Princess Mariam of Kartli. The narthex bears three inscriptions in the medieval Georgian asomtavruli script. One, on the western facade, makes mention of King George IV and Bishop Theodosius, a ktetor. Another, also on the western facade, mentions George IV's son David VII and relates that the bishop of Dmanisi abolished a local law that required a payment for the wedding rite.
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Strict rules of construction and renovation imposed by the Ottoman Empire are seen as the cause for the lack of architectural aesthetics of Armenian churches in Istanbul built mostly during that era. The Surp Krikor Lusavoriç Armenian Church in Kuzguncuk makes an exception with its cruciform plan, Byzantine dome, and reliefs. The rectangular-plan church building with walls of unhewn stone and double rows of brick has three sections and a narthex. The dome on the roof is supported by four pillars.
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At the centre of the reredos is a carved, gilded pelican feeding her young from her own flesh (a traditional image of Christ who feeds his followers with himself in Communion). The main altar comes from the former local mission. The one from Lombard Street is in the Chapel at the south end of the narthex). Behind the choir stalls, which flank the chancel, are two wrought-iron sword rests for the ceremonial sword of the Lord Mayor of London.
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The interior consists of a chancel, side chapels, an aisled nave and a narthex to the south. The chancel, which features stencilling and paintings from the 1890s, is topped by a hammerbeam roof, and the roof of the nave has gabled clerestory windows. An organ built by Henry Willis & Sons was installed in 1865, but was moved from one of the side chapels to the wall of the tower about 40 years later. Several distinguished architects provided internal fittings at St Patrick's.
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The principal entrance to the building is through a pointed arched opening recessed in a heavily moulded doorway set within a projecting porch element with steeply pitched gabled awning. On the face of the gabled section, above the doorway is diaper work carved in the stone. The interior of the church is traditionally arranged, with a nave separated from side aisles by a pointed arched arcade. A narthex area, near the entrance, is also separated by a pointed arched arcade.
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St. Joseph Parish Church is designed along the cruciform lines of the Gothic period. As such, the main floor of the church contains the narthex, nave, transept, sanctuary, and sacristy. The bottom floor contains Father Doyle Hall, a meeting hall, as well as the church's restrooms. Altar of St. Joseph Parish Because the parish church was founded prior to the Second Vatican Council, the church contains a high altar, behind which the large portrait of St. Joseph served as a reredos.
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The Northern Basilica has three main parts: a narthex, an exonarthex separated by colonnades and an atrium constructed mostly of marble. In the northern part there is a baptistry and in the southern part are Slavic graves. The church, which was built at the beginning of the 5th century, can be entered from the street Via Principalis Inferior. The Civil Basilica is south of the north basilica and was discovered in 1937. In 1956 archaeologists found that there were seven building phases.
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The basilica interior The increasing number of pilgrims necessitated a bigger church. In 1924 construction of the red-brick Romanesque church was finished. The present Byzantine-style basilica is located at the corner of Clay & West streets. The main floor contains the narthex, the sanctuary, and the altar which maintains its pre-Vatican II configuration, separating the celebrant from the congregation by an altar rail and providing religious statuary and votive candles in alcoves along both sides of the sanctuary.
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The building was originally designed by Agustín Carrillo. However, in 1870, Ramon Rodriguez Arangoiti redesigned the cathedral, based on his experience with old Roman basilicas although the present-day building still contains a number of the elements of the original design such as the aisle that runs parallel to the façade serving as a narthex, allowing access to the central and two side naves. The straight central nave is lighted by round arched windows. The outside façade consists of two parts.
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Interior of the Cathedral In 1912, installation of mosaics in the interior began. Completed in 1988, the mosaics collectively contain 41.5 million glass tesserae pieces in more than 7,000 colors. Covering , it is the largest mosaic collection in the world outside Russia. Ceiling of the narthex, passage from 2 Timothy 4:7 While the mosaics in the side chapels and sanctuary walls were designed and installed by Tiffany Studios, the mosaics in the main cathedral areas were designed by August Oetken.
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The north church, dedicated to the Holy Trinity, is what would be considered a "compressed cross-in-square type" that is off axis due to the narthex of the south church that projects into its space. The founder of the chapel and donor for the painted decorations was the Governor of Cyprus, Eumathios Philokales. Out of all the Byzantine era buildings in the relative location,this is the most well preserved. The architectural type is that of a single aisle domed structure.
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It lies just northwest of Ljubljana and was part of the traditional region of Upper Carniola. It is now included with the rest of the municipality in the Central Slovenia Statistical Region.Ljubljana municipal site The local church is dedicated to Saint James () and belongs to the Parish of Šentvid.Slovenian Ministry of Culture register of national heritage reference number ešd 1998 The bell tower was built in 1681, the nave and cloistered presbytery in 1721, and the barrel-vaulted narthex in 1794.
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The church is built in the Decorated style of the early 14th century. The most prominent feature is the tower, built in four stages with angle buttresses and terminating in an embattled parapet with pinnacles at the corners and also in the middle of each side. Across the West end of the nave is a narthex with a gabled head in the centre. In the west wall of the nave is a very large window filled with a circle of intricate flowing tracery.
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What is now the church hall used to be the original chapel (built in 1897) and the larger church was built in 1900. The main church building has a size III/35 Harrison & Harrison Organ; installed in 1900. (p.7) The main church can seat 500 on the main floor and an additional 200 on the balcony above, accessible from the narthex (main entrance lobby). The church was extensively rewired in 2012 and in recent years has had new heating systems installed.
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The marble used for its construction was transported to Athos from Tinos, the place of origin of the church's architect, Paul. The nave of the catholicon was decorated with iconography in 1811 and the sanctuary in 1818 by the iconographers Veniamin, Zacharias and Makarios. The decoration was completed in 1841 with iconography of the narthex by the iconographers Ioasaf, Nikiforos, Gerasimos and Anthimos. The altar, the iconostasis, as well as other features of the temple, date back to this era.
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Most of Nugent's writing output has taken the form of private reports on philanthropic initiatives, usually on environment and historic preservation. Beginning with his tenure as Narthex of the Harvard Lampoon, he has also kept up a side career writing for newspapers and magazines. Nugent was a frequent contributor to Stewart Brand's CoEvolution Quarterly, and designed and guest-edited that journal's “When Things Go Wrong” issue. His articles have appeared in the Boston Globe, Los Angeles Times, Newsday, and the New England Monthly.
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Its battle flags hang in the Old Church's narthex. After the war, it was consecrated as St. James Catholic Church In 1861 the church closed for ten months in order to erect the current steeple. Another structural problem, the shifting of its east wall, had been noticed and was mentioned in a report by the state engineer's office in 1874. It was attributed at the time to the lack of a full basement due to the decision to leave the underlying graves intact.
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The English Gothic design exemplifies a change in church architecture fashion at that time from Romanesque Revival to Gothic Revival. The façade, of smooth, gray brick, limestone, and terra cotta, comprises the sanctuary on the east and parish house on the west, with a 110-foot clock tower, atop the narthex, between them. The sanctuary's sloping floor has wooden pews, facing east, that curve around the main altar space. A balcony provides seating around the north, south, and west sides.
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Aerial view of the monastery complex in 2018 The monastery is located atop a hill, at an altitude of , to the south- west of the village of Vank (Azerbaijani: Vəngli) in the province of Martakert. The walled monastery complex includes the church with its narthex (gavit), living quarters, bishop's residence, refectory, and a school building. The living quarters, located on the northern side contain eight cells (), were built in the 17th century. On the eastern side there is a refectory, built circa 1689.
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Wren faced the additional challenge of incorporating towers into the design, as had been planned at St Peter's Basilica. At St Peter's, Carlo Maderno had solved this problem by constructing a narthex and stretching a huge screen facade across it, differentiated at the centre by a pediment. The towers at St Peter's were not built above the parapet. Wren's solution was to employ a Classical portico, as at Val-de-Grâce, but rising through two storeys, and supported on paired columns.
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In the Nekresi church, the narthex on the west side opens onto all three aisles. The central nave terminates in a deep sanctuary apse on the east, which is flanked by the rectangular pastophoria on its either side. The side naves also end in apses. The north aisle communicates with the central nave through a door, but the corresponding door on the south aisles seems to have been blocked up centuries ago as the 16th-century frescoes now cover that area.
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The architectural articulation of the distinct spaces of a cross-in-square church corresponds to their distinct functions in the celebration of the liturgy. The narthex serves as an entrance hall, but also for special liturgical functions, such as baptism, and as an honored site of burial (often, as in the case of the Martorana in Palermo, for the founders of the church). The naos is the space where the congregation stands during the service. The sanctuary is reserved for the priests.
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Decorated exonarthex of St. Nicholas Church The church was built in 1721. The structure consists of a basilica-type construction Struktura with a naos covered with a cupola, a narthex and a cloister. The interiors of the church are decorated with mural paintings executed by David Selenica and his helpers Kostandin and Kristo. The art of Selenicasi is distinguished by its realistic nature, as it is witnessed by the portrait of the donor, as well as by a deep theological knowledge.
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Beside the vegetable garden on the southwestern side of the monastery, you can see the monks' cemetery and a newer church. Kaisariani Monastery, exterior wall of church. The katholikon is of the usual Byzantine cross-in-square type, with half-hexagonal apses. The narthex and frescoes of the katholikon, however, date to Ottoman times, as do most of the other buildings of the monastery, with the exception of the olive oil press, originally a bath, which appears to be contemporary with the katholikon.
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Christians take these palms, which are often blessed by clergy, to their homes where they hang them alongside Christian art (especially crosses and crucifixes) or keep them in their Bibles or devotionals. In the period preceding the next year's Lent, known as Shrovetide, churches often place a basket in their narthex to collect these palms, which are then ritually burned on Shrove Tuesday to make the ashes to be used on the following day, Ash Wednesday, which is the first day of Lent.
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In this building, three or four rows of bricks alternate with single rows of stones, and the bricks are arranged to form several patterns. The second church was of the cross-in-square type with an almost square naos about 10.5 m wide: it had four columns sustaining the dome through pendentives, three apses - the central one having a polygonal shape - and a narthex embracing the edifice on the west and north sides.Westphalen (1998) p. 52 The dome was about 4.4.
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When viewed from above, it reminds Piazza del Campo in Siena that is said that it has been inspired by the blanket that covered the Holy Virgin. Outside the church has a narthex brick split-view in two large arms to represent the embrace of God to the Church community. Inside the classroom has a single nave, this encourages participation in the celebrations of the whole assembly. The church has a capacity of about 450 people to sit and possible other 150 standing.
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The main church building was designed by Alexander Hinshelwood and constructed in 1874. It is described as a Gothic, gabled rectangular-plan church with: a square 3-stage belltower to NE corner with stone spire, squared yellow sandstone coursers with ashlar margins, set-back gabletted buttresses with sawtooth coping and hooded pointed-arch windows with chamfered reveals. The original interior is described as a galleried interior, entered from the narthex with flanking stairs to gallery. Boarded dado and timber pews.
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The interior of the narthex features remains of Norman arcading and a common rafter roof. The doorways through the east and west walls of the tower are perpendicular with the one on the west having carvings of a bishop and a king in the moulding over. The north and south sides of the nave are divided from the aisles on each side with early 13th- century arcades of three bays on short circular piers. The chancel arch is early perpendicular.
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The architect of this church in Uttoxeter, Staffordshire was Augustus Welby Pugin, and it was opened in 1839. The South Aisle has windows by Woodroffe erected in the period 1915 to 1938, and the war memorial window in the Narthex is also his work. The three-light window in the South Aisle is a memorial to Captain Oswald J Bamford who served with the 6th Battalion North Staffs Regiment. He was killed at Loos on 13 October 1915 aged 38 years.
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The church built up a strong relationship with actors and entertainers appearing in the local theatres, and in 1929 the Actors' Chapel was created in the church. In 1949 a columbarium (a chapel for the storage of cinerary urns) was added to the church, to a design by Edwin Carpenter. Further additions were made in 2001–02 by Stephen Eccles, consisting of a porch, a narthex, and a baptistry. The former mission church survives, and is used as the parish hall.
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Crucifixion, fresco from Church of the Holy Virgin, Monastery of Studenica, 1208. On the left is St. Mary the Holy Virgin. The artistic achievements of the sculpture of Studentica culminate in four portals of the Virgin's Church, primarily the west one, inside between the narthex and the exonarthex. On the north wall under the dome, there is a window made of many square panes with medallions carved on a leaden plaque which represent eight fantastic animals - the symbols of the Virgin's virtues.
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The original frescoes have been partly preserved in the altar area, under the dome, on the west wall, and in the lower registers of the nave. The most splendid representation is that of the Crucifixion, painted on blue background in 1209, one of the paramount achievements in Serbian art. On the south wall there is the "founders' composition" which shows the Virgin taking Nemanja (Simon) with the church model to Jesus Christ as the Magistrate Impartial. The narthex was painted in 1569.
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The authors of the Buildings of England series state that the church has "a grand approach up steps with imposing gatepiers". It is constructed in sandstone ashlar with slate roofs in Early English style. Its plan consists of a six-bay nave with north and south aisles under three gabled roofs; the nave is extended one bay to the west to form a narthex. At the east end is a two-bay chancel with a steeple in the angle between the north aisle and the chancel.
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The most recently installed stained glass window was designed and executed by a Church Member, Lesley Marshall, and is located in the narthex. The Church Hall is located immediately behind the church building and is accessed down each side of the church at two entrances. The hall was refurbished following the sale of the former manse (located also at 346 Main Street) and the former Blackie Memorial Hall. The hall building consists of a large hall, male/female and disabled toilets, office and large kitchen.
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The chancel was one of the first parts of the building to be completed, being ready for service in early 1853, several months before the nave was completed later that year. Carpeting was added to the chancel in 1866 and electric lighting in the 1930s. A view of the nave and chancel at the rear of the building (HABS, 1970)The interior of the church follows its outer design. The narthex is floored with large stone slabs and is flanked with two lancet widows.
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A unique feature of this building is the U-shaped gallery which runs over the narthex and the two western bays of the quincunx. The gallery has windows opening towards both the naos and the crossarm. It is possible that the gallery was built for the private use of the Empress-Mother. As in many of the surviving Byzantine churches of Istanbul, the four columns which supported the crossing were replaced by piers, and the colonnades at either ends of the crossarms were filled in.
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The basilica is located on the Spasovitsa Hill (or Holy Savior's Hill) to the south of Golyamo Belovo and south of the town of Belovo. The church is accessible via a road which starts to the east of the village and passes some of its fruit orchards. Built in the first half of the 6th century, the church has been only partially preserved to this day. Among the sections that are still standing are the north arcade, the south wall of the narthex and monumental west facade.
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The pyramid, as it stands today, is the result of five nested temples. Parts of the first temple can be seen when ascending the western staircase; the second and third temples are accessed by the eastern staircase, through an inner chamber at the second level. In front of it Temple III, forming a narthex, is the fourth temple, which is clearly visible from the west side. A climb to the top of the east stairs reveals the fifth temple, situated atop Temples II and III (Stierlin 66).
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The current main entrance dates from 1921, when the vestry approved removal of a southern porch and construction of a brick narthex to replace it. Thus, the doors to the east and west are now side doors. Rev. Stanley installed two stained glass windows in 1863, one in memory of his daughter, and another stained glass window was donated in his memory. Further stained glass was donated at the turn of the century and even during the Great Depression, hence the Gothic Revival aspect.
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The left one is holding a dragon, symbol of Evil, in his paws, while the right one is holding a bear, which in turn is biting a bird's neck. On the façade are also two tombs: the more recent one (mid-14th century) is by Bonino da Campione. The façade of the northern arm of the transept (late 13th century) also has a narthex; and its columns also have two lions at the base. It is characterized by a sequence of mullioned windows and rose windows.
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Gregg, p. 38 A Celtic cross adorns the stained glass above the central wooden door that leads into the nave, and Latin epigraphs have been engraved above the two side doors.Gregg, p. 39Domus Dei Aula Coeli ("The house of God, the forecourt of heaven") above the right door; Domus Dei Locus Orationis ("The house of God, the house of prayer") above the left door. Above the narthex is an organ gallery. The nave is arcaded and has a single aisle on each side with clerestory windows above.
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Il concorso internazionale di restauro, "AR", XL, 60, luglio-agosto, pp. 8-37. This was won by a group of architects under Marco Dezzi Bardeschi. Alessandro Pergoli Campanelli, Il restauro del Tempio-Duomo di Pozzuoli , "L'Architetto italiano", VI, 35-36, gennaio-aprile 2010, pp. 8-13. The entrance is through the remains of the facade and the first two chapels of the Baroque cathedral, now presented as an uncovered narthex in front of the new glass facade, engraved with the destroyed front columns of the pronaos.
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61] The Crusader's Carmel Castle was first mentioned in 1175 and was destroyed in 1187. In the 1920s, a Crusader tower built over the narthex of one of the Byzantine churches was seen with part of its first (upper) floor still standing, with arrow-slits on two sides; in the 1980s Pringle only found the barrel-vaulted basement with remains of the ground floor. French medievalist interpreted in the 1930s the role of the castle as built "to guard the road leading to Edom", i.e. to Oultrejordain.
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There are two entrances, with wooden double doors, one in the narthex on the west side and one in the main part of the church on the north side. The sanctuary ends in the semicircular apse with a hemispherical dome. In the north and the south wall of the sanctuary is formed by a niche with arch. In the dome of the apse there is an opening with a sloping upward direction, blind (with closed end), which served in the past, probably, the ventilation of the sanctuary.
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The remaining monks, fleeing the Turkish offensive in 1690, took the relics of the Prince Lazar. a number of monks got killed and the rest of them took the relics of the canonized Prince Lazar and withdrew in face of the Ottoman's offensive in 1690. Only in 1717 was the sole survivor among the monks, teacher Stefan, to come back to Ravanica and find the monastery looted and deserted. With the help of local inhabitants he restored the monastery and built a new narthex.
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The church's floor was originally covered with marble, though the marble was removed in one of the possibly three rounds of reconstruction that the church underwent. For example, the present narthex was not added until the final reconstruction some time in the 19th century. Medieval frescoes used to cover the entirety of the church's interior, though only some 70 fragments survive until today. Until 1961, the existence of a medieval mural layer was unknown because the walls were covered with oil paint in the 1910s.
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Accessed August 25, 2008. The basilican structure and tripartite sanctuary of the church closely resembles the one of Abu Serga.Coptic Cairo Online. The Church of Saint Barbara. Accessed August 25, 2008. Nearby there is a convent which comprises several buildings, including a school built by the well known architect, Ramses Wissa Wassef. While Saint Barbara's Church has been a long-lasting example of ancient Coptic architecture, it resembles the shape of ancient Basilicas. It comprises an entrance, a narthex, a long nave, several aisles and three sanctuaries.
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Thin lesenes start from the pillars' centres, reaching the upper frame. The capitals are decorated by animal (lions, wild boars), and human figures (mostly heads, but also angels and others), as well as by vegetable or fantastic motifs of pre-Romanesque origin. Under the narthex, between the central portal and the left aisle's portal, is the sarcophagus of Pietro Candido Decembrio, from the 15th century. The central portal is flanked by two multi-column pillars, and has an archivolt with decorative of elements of Sassanid origin.
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Makaravank () is a 10th to 13th century church complex near the Achajur village of Tavush Province, Armenia, located on the slope of Paitatap Mountain. Though the monastery is no longer used for services, the complex is well preserved. There are 4 churches, a gavit (narthex) that serves the two largest of the churches, and other buildings which served secondary roles. At one time there used to be vast settlements around Makaravank, the presence of which was of great importance for the growth of the monastery.
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Copp brought with him a baptismal font, a gift from the S.P.G., which can be seen in the narthex of the current church. In 1758, the Colonial Assembly of Georgia divided the colony into eight parishes, with the parish in which Augusta was located being named for "The Parish Church and Burial Place of Saint Paul's." The original church building was of Gothic Revival architecture, but burned down during the American Revolutionary War. The fourth church was designed by architect John Lund in the colonial architecture style.
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The entry to the outdoor narthex of the Chapel is created with a tent-like flap extending over the entry, creating an enclosed space that is still outdoors. The entrances to the Chapel are faced away from the center of the building and towards the tabernacle as a reminder to all who enter that the central point of the Chapel is not the altar or the crucifix, but rather the location of the Eucharist. The structural design was performed by CJG Engineers, based in Houston and Austin.
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Its current name is first attested in 1320, presumably after a miraculous acheiropoietos ("not made by hands") icon of Panagia Hodegetria that was housed there. Byzantine sources also indicate that the cult of the city's patron saint, Saint Demetrius, was also practised there. Mosaic Interior The building is a three-aisled basilica, some 28 m wide and 36.5 m long, with a wooden roof. Its eastern end is a semicircular vault, while on the western side a narthex, flanked by towers, and traces of an exonarthex survive.
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Aerial view of the triconch Sankt Maria im Kapitol, Cologne A triconch building has only three apses; normally omitting the one at the liturgical west end, which may be replaced with a narthex. The eastern apse may be considerably larger than the ones to north and south. Many churches of both types have been extended, especially to the west by addition of naves, so that they came to resemble more conventional basilica-type churches. The church in Istanbul of St. Mary of the Mongols is an example.
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The uppermost timbers end outside the wall with cantilevers to support the eaves purlins of the lower roof. These cantilevers, high above the ground and shaped with numerous stylised heads of horses, arc very specific for Moldavia. The same can be said about the dimensions and the design of the portals, windows and openings in the wall between men and women. The consoles inside the nave and sanctuary, and the cross beams supporting the flat ceiling over the narthex are all adorned with filigree like decoration.
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Anglicans in Portugal petitioned for permission to build a church, but until the early 19th century the Portuguese Inquisition prevailed on the monarch not to grant it. A church of St George the Martyr was built in the cemetery in 1822 but burnt down in 1886. The present church was designed by the London-based architects John Medland and Charles Edward Powell and consecrated in 1889. It is a Romanesque Revival building with a narthex, blind arcades and rose window on its west front.
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The western bay, according to Bacci, was turned into "a kind of narthex or vestibule". The older façade of the building is plainer, with a round window and a plain portal, while the portal of the southern nave, added later, is adorned with an oeil-de-boeuf and marble mouldings. The church is home to numerous frescoes dated to the 14th and 15th centuries. Unlike Byzantine Orthodox churches, the frescoes in the Nestorian Church are not part of a unified design, which is characteristic of Nestorian Churches.
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The narthex and aisles are still Gothic, but some of the other Gothic objects (like the neogothic altars by Josef Bachlehner) were added during the renovation in 1898, when also the baroque furnishings of preceding centuries were removed. The highpoint of the church is its elevated walkway with its ornate parapet, built in 1514. The walkway rests on four carved columns of precious marble, in between which an intricate net-vault is spun. The three pointed arches are crowned with crockets, and end in pointed towers.
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National Museum in Warsaw A proskynetarion (Greek προσκυνητάριον (from: προσκύνησις) meaning "oratory" or "place of worship", plural proskynetaria) is a monumental icon of the Eastern Orthodox Church usually depicting Christ, the Virgin Mary, or the patron saint of a church. a Serbian Proskynetarion They were usually made of mosaic or fresco in a marble frame and placed on the piers separating the parts of a templon in a Byzantine church, though proskynetaria of patron saints were often in the narthex or on the nave walls.
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In the eleventh century the abbot was reduced to a prior. The church was rebuilt on a somewhat expanded plan under the rule of Odilo, abbot of Cluny, in the first half of the eleventh century, in a campaign that lasted fifty years, continuing under Odilo's successor Hugh: the abbey church was consecrated in 1094. A narthex was added in the twelfth century. The community of Charlieu refused the Cluniac reforms of the seventeenth century, and on 19 March 1787, letters patent suppressed the abbey.
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On the walls of room above the narthex is an example of something not seen anywhere else in Cappadocia: hunting scenes. There is an interesting composition of a variety of animals. The special style and iconography of the paintings on the walls of the Gümüşler Monastery is the same as what can be seen in many churches in Cappadocia. It is possible to date the paintings in the church to the 12th and 13th century A.D. by comparing and evaluating them by these traits.
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Ruins of the Ambara church around 1899. The Ambara church is located in the Gudauta District, Abkhazia/Georgia, on the cape of Myussera, close to the mouth of the Ambara stream. The Ambara church complex consists of a half- ruined three-nave basilica, a stone fence and remains of several additional secular structures, dated by scholars from the 8th to the 10th century. The basilica has a roughly processed ashlar stone surface, a two-storey narthex and an upper gallery on the west facade.
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The church has two domes, the larger one over the central arcade of the nave, and the smaller over the narthex. Basically, the nave is resolved in the form of a reduced inscribed cross, although this form is not visible in the external treatment. Interventions on the church from the 18th and 19th century altered substantially the authentic look of the upper part of the building. During the 1861 reconstruction, the upper section was added while the roof tiles were replaced with the sheet metal.
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A stair turret is attached to the north-east corner and belfry windows are located on the top floor on each side. The narthex has a half-hipped roof with a restored three-lighted perpendicular gothic window set left of centre on the west face above the entrance door. Smaller two-lighted windows are positioned at low level in the north and south walls. The north and south aisles feature variously sized and detailed two-lighted decorated gothic windows on their flank and end walls.
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A new chapel was added to the church in the 19th century, which was followed by enlarging the basilica with stone works, and with a belfry. The narthex, which existed in the old church, has been demolished. The building material used in the old part of the church is light Kerch limestone. The walls of the church have been built with bricks in successive layers, laid in alternate stages of four layers of masonry followed by four layers of red clay bricks which act against earthquake effects.
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Union Church and Cemetery is a historic Episcopal church and cemetery located at Falmouth, Stafford County, Virginia. The property contains the archaeological sites of the 1733 and 1750s Falmouth Anglican churches and the standing remains of the Union Church, built about 1819. The Union Church narthex, measuring 10 feet by 40 feet, is the section remaining from the Federal style building. The building contains an original stairway to the balcony and framing that extends upward to form the belfry which supports an estimated 300-pound bell.
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A cross gable projects to both sides at the back end of the nave, with a smaller projection at the narthex. There are entrances on the sides of this latter projection and in the center of the main facade, each set in a round-arch opening with rounded windows above. Above each entrance are complexes of tall round-arch windows, the central one rising to the roof level as part of the base of the tower. The tower is crowned by an octagonal spire and cross.
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Many American Educational and Medical Institutions were founded by Christian fellowships giving alms. Collecting the Offering in a Scottish Kirk by John Phillip In the Eastern Orthodox Church and the Eastern Catholic Churches, the collection of alms and tithes has not been formally united to the offertory in any liturgical action. However, either having a collection plate in the narthex or passing it unobtrusively during the service is not uncommon. In Eastern Orthodox theology, almsgiving is an important part of the spiritual life, and fasting should always be accompanied by increased prayer and almsgiving.
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The two side portals on the west front are also his work, as is the lower loggia here and on the south side of the building. A second portal by Nicholaus with additions by Benedetto Antelami was present on the south side, but it was demolished during the 18th-century restorations. Some of the sculptures which decorated it are now on the piazza in front of the building (the supporting griffins), in the narthex and in the Cathedral Museum. The portal was used by pilgrims on their way to Rome.
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Throughout the week, the debris and destruction were cleared and the congregation met in the church on the following Sunday for worship. Within two weeks of the damage, £2,000 had been pledged towards the rebuilding costs: the rest came from sources all over the country and the world, including one large gift from Bridge Street Church in the City of Leeds. There building plans were drawn up by Peter Hill, the diocesan architect. He included a Narthex, male and female toilets and two meeting rooms. The cost eventually came to £26,000 and this was met.
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A document of March 1677 indicates that Antonie Ruset had decided, together with Metropolitan Dosoftei, to turn the church into a second seat for the Moldavia Metropolis, alongside that in Suceava. So it remained until another metropolitan see was built in 1695. While the chronicles indicate Ruset prepared his grave here, he died poor in Constantinople, and Prince Constantin Cantemir was placed in his crypt for a time. Others were subsequently buried there, very likely members of the princely families; several graves were removed from the narthex during the 1884 restoration.
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137 The new church lay at the border between the First and Third Regio of the City,Müller-Wiener (1977), p. 177 in an irregular area between the Palace of Hormisdas (the house of Justinian before his accession to the throne) and the Church of the Saints Peter and Paul. Back then, the two churches shared the same narthex, atrium and propylaea. The new church became the centre of the complex, and part still survives today, towards the south of the northern wall of one of the two other edifices.
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The privileges granted by the princes to the monastery contributed towards its becoming a large cultural and enlightenment center of medieval Armenia. At the end of the 12th and the beginning of the 13th century, two monumental gavits (narthexes) were built of big stones, some measuring 3.5 meters. The larger narthex (gavit) is adjacent to the western facade of the cathedral and is linked to the northern apse of the Church of St. Gregory. It is a rectangular building supported by four pillars, with a stalactite carving in the central part of the ceiling.
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The building took thirty years to complete, finally inaugurated and blessed on 18 July 1739. The first stage of construction was completed in 1730, when the main body was finished and the tympanum, bearing the date M DCC XXX (1730), was placed. The second construction phase, from 1730 to 1739, saw the erection of the two bell towers, and the façade and narthex were finalised. The architect of the Igreja de Santo Ildefonso is unknown, although records exist giving the names of the carpenters, masons, and locksmith who worked on the building.
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The 12th century Pantokrator monastic complex (1118–36) was built with imperial sponsorship as three adjoining churches. The south church, a cross-in-square, has a ribbed dome over the naos, domical vaults in the corners, and a pumpkin dome over the narthex gallery. The north church is also a cross-in-square plan. The middle church, the third to be built, fills the long space between the two earlier churches with two oval domes of the pumpkin and ribbed types over what appear to be separate functional spaces.
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Following a seven-year fundraising campaign, a lot on the corner of Midland and Kraft Avenues was purchased. On this land was added a nursery school, a 40-foot expansion of the chancel to accommodate a larger pipe organ, an usher's parlor adjacent to the narthex, a chapel, a social hall, a glass enclosure of the cloister, and a parking lot in 1955. This complex was dedicated in September 1957. With the disestablishment of the Dutch Reformed Church in 2004, the Reformed Church of Bronxville joined the Reformed Church in America.
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The western couple of the columns was octahedron-shaped to contrast with the eastern couple which were square-shaped. Immediately after completion, the construction of the narthex with the choirs from the west-side was arranged in 1119-1122. The reason why the original plan was changed is unclear. During the second stage, the former western wall was totally disassembled, and its corner-ends was turned into a new pair of columns; this isolated the lateral sides of the choir loft from the nave by the walls with the windows preserved from the previous design.
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The outbuilding makes the design to be close to other Novgorodian churches of the period; the closest analog is the Cathedral of St. George in the monastery of St. George as it has a stair tower (but that one is square-shaped) and also has three domes as well. Over the years, the church has been encompassed by other outbuildings. In the 16th century by a little porch from the west side. In 1671 the narthex in honour of St. Antony, the founder of the monastery, was built; it was decorated in the same year.
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The implementation of this art can be separated into several distinct periods. In 1263-1268, various paintings, including those of the sons of Stefan Uroš I, Dragutin, and Milutin, were created. In 1331-1346, during the reign of King Stefan Dušan, the church expanded and took on characteristics of a cathedral, expanding the art and decorations seen in the exo-narthex of the church. In 1335-1371, it is presumed that the fresco paintings of the church were completed, evidenced by painting styles seen in other nearby churches.
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During 1964 and 1965, the sanctuary was split in two and the front section of the church containing the narthex and the spire was moved forward to increase the seating capacity in the church. This remarkable project actually added to the sanctuary without noticeable change to the interior or exterior appearance of the building. You can see the “split lines on the sanctuary walls which clearly mark the expansion. The “Christian Education” building was added on as a part of the 1964 construction and built for the rapidly expanding Sunday school program.
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In 1997, using money from several bequests, a major renovation of the sanctuary was made. The scope of the work included a new sound system, carpet, enlarged Narthex, air conditioning, new lighting system and chandeliers, redesigned chancel, sound enhancement and accessibility improvements. In 2007, a new terrace project was completed and gives the church a safe and welcoming entryway. A complete history of The Presbyterian Church in Westfield is available in the church library, and members of the staff are always glad to conduct visitors through the buildings.
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As in the basilica, the middle part was built taller than the external ones. The ruins of a tiny building adjacent to it were discovered in the north-eastern part of the temple that this building could be considered as the primary variant of the narthex, which later became one of the integral elements of the Christian temples. This temple also draws attention to the decorative stones which confirm the architectural and artistic character of the building. The stone reliefs of this temple are very close to the ornament of polytheistic temples.
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A counter-argument however supports the theory that the present church is unrelated to the Peribleptos Monastery, and that it was converted into a mosque ca. 1500, when the city's kadı (judge), was Ishak Çelebi, whom the mosque was named after. However, the church's architecture and decoration, which date to the late 13th/early 14th centuries, appear to support the former view. The church is of the tetrastyle cross-in-square type, with a narthex and a (now destroyed) ambulatory that is connected to two chapels (still extant).
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False windows are designed on the top half of the tower. A round clock with Roman numerals and a pediment is fixed between the two 15-light false windows in the north, south, and west directions. A central double door provides entry into the vestibule or narthex of the cathedral in the lower floor of the bell tower, to the east of which is the nave. The cruciform plan of the cathedral is formed by the exterior walls which are extended arms to the west of the two chapels.
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It even mentions the use of firecrackers that day. This day every year there is a procession of the Holy Icon through the streets of Aigio and it is an official religious holiday (recognized as an official holiday by a Royal decree of 8 May 1933). The name Trypiti comes from the Greek word tripa () meaning hole, cave, because the miraculous icon of Panagia was found in a hole in the rock. In the narthex of the church (which is on the ground floor) there is a spring of water ().
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Diocese of Southwark The church was built as part of the 19th century expansion of the town. With the growing population to the south of the parish church of St Nicholas in the town centre, the need was recognised for the people living in the south to have a more local church. The building was sited among the then lavender fields east of Brighton Road. The church has the largest auditorium in Sutton, and comprises a nave of five bays, a chancel, apse, north and south aisles, chapel, narthex and vestries.
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The church has been described, following the definition by Chubinashvili, as a "three-church" basilica, that is, a peculiar Georgian design in which the nave is completely separated from the aisles with solid walls, in order to create what are almost three independent churches. Arjevanidze identifies the building as a hall church with a mono-pitched roof. The church, without later additions and narthex, measures 23 × 11.5 m. It is build of lines of small grayish stones, sometimes regularly hewn blocks, and is roofed with flat stone tiles.
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The Cathedral of Our Lady of the Immaculate Conception (Portuguese language: Catedral de Nossa Senhora da Imaculada Conceição) is a Roman Catholic cathedral in downtown Maputo, the capital of Mozambique. The cathedral is located on Praça da Independência (Independence Square) next to Hotel Rovuma and Maputo City Hall. It is dedicated to Our Lady of the Immaculate Conception. The foundation stone for the construction of the church was laid on June 28, 1936, and is located inside the narthex and inscribed by the Bishop of Mozambique and Cape Verde, D. Rafael Maria da Asunção.
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The bishop enters the church clothed in his monastic habit and klobuk, and carrying his walking stick. As he enters the narthex, a server takes his walking stick and the subdeacons place the episcopal mandyas on him as the choir chants Axion Estin (or, if it is one of the Great Feasts, the Ninth Irmos of the canon of the feast). The bishop kisses the blessing cross and holds it for each of the priests to kiss. The last to kiss the cross is the youngest priest, who receives it again on the tray.
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Only after the end of the Soviet Union was the church restored, using local funds and donations. The church has a cross-shaped layout consisting of three parts: the narthex in the front, the central nave and the apse in the back, which is shielded by an iconostasis. The church is around eighteen meters long and eight meters wide; the nave measures less than six meters square. The exterior has a slightly different appearance than in the 1970s, when the towering roofs had to be replaced and made more simply than before.
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A roughly-built narthex (or ante-chapel) was later added to the outside of the east wall, 3m in depth and 6m in width. It was placed asymmetrically in line with the south wall so that there was no direct view from the front entrance into the temple. Similar to the shrine at Carrawburgh this anteroom contained a low stone bench which may have been used in initiation rites. The east wall, however, was built over a badly filled-in pit and the subsequent subsidence caused the collapse of the structure.
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The tower is tall, starting as a square structure, which rises to a cornice with shallow center gables on each cornice, and an octagonal cupola topped by a green onion dome, which is capped by an Orthodox cross. The tower is connected to the nave of the church by a gable-roofed narthex. The nave is rectangular, with a hip roof capped by a cupola similar to, but smaller than, that on the tower. Hip-roofed wings containing chapels extend north and south from the near the eastern end of the nave.
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The apse is at the far eastern end of the structure, with a hip roof that rises only to the level of the cornice of the nave. All of the roofs are covered in wooden shingles painted red; the domes are covered in tarpaper which is painted green. The interior of the church has a fairly uncomplicated layout. The first floor of the tower acts as a vestibule, while the narthex area provides spaces for storage and stairs leading to the choir loft and the belfry, the latter occupying the tower's second level.
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Traces of the vaults and the shafts which supported them are still visible in the western two bays.John James, "La construction du narthex de la cathédrale de Chartres", ' 'Bulletin de la Société Archéologique d’Eure-et-Loir' ', lxxxvii 2006, 3–20. Also in English in ' 'In Search of the unknown in medieval architecture' ', 2007, Pindar Press, London. The stained glass in the three lancet windows over the portals dates from some time between 1145 and 1155, while the south spire, some 103 metres high, was also completed by 1155 or later.
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The door opening is framed by a round arch that sits on the marble pilasters, as well as a rectangular frame consisting of a pilaster on the sides and a two-step lintel at the top. Three-floored western part of the church was used as a residence but currently is closed. There are two windows on each side of the two rows of windows that illuminate the narthex on the sides of this door. The lower row windows are rectangular near the square, the upper row is narrower and longer.
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Núcleo Museológico da Igreja Românica de S. Pedro de Rates - CMPV In the excavations, the knowledge about the Preromanesque period widened, namely with the probable narthex of the Preromanesque temple, where a Roman stele was found, this artifact was Christianized in the 6th and 7th centuries and, was after that, reused in the Preromanesque period. Archaeological surveys have revealed vestiges of a Preromanesque church built between the 9th and the 10th centuries under the current building, and it is known that a monastic community existed in Rates at least since the 11th century.
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Two more layers of wall paintings followed, one in the 15th and one in the 17th century. The external wall painting are placed in 1496. In the arch of the inner narthex stands the most remarkable and rare piece of wall painting, the depiction of the Holly Trinity. This mural reflects the doctrine of the Catholic Church, according to which the Holy Spirit proceeds 'from Father and Son', a fact that leads us to conclude that the painter was directly connected with the Western Church and deeply influenced by it.
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The narthex formerly contained a baptistery. A 19th-century traveller described the faded Byzantine frescoes that were still visible on its walls. The Central Church appears to have been conceived somewhat earlier than the two others, in the form of a regular cross, but was extended to the west during or shortly following the construction. It is much larger than the South Church, which was built of coarse rubble masonry, extensively restored by the monks in 1899, fell into disuse during the Soviet years, and was reconsecrated to St. Elijah in 1991.
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The church's simple layout is of a nave and two flanking aisles, leading to a long aisle-less chancel. However, it starts with a narthex at the base of the tower, containing the baptistery, which is in direct line with the high altar. The simple but noble interior is made bright and airy by vast open spaces, many lancet windows, and plastered walls. The impressive height of the nave (45 ft or 14m) is accentuated by giant drum piers and gothic pointed arches, which hold a coffered wagon roof.
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After playing with groups in high school, Sabatino formed Narthex, a two-piece new wave band, in 1980. The band failed to release a proper album before its split three years later, but a 1982 recording session was eventually remixed and released as the Twin Cities album in 2006. Sabatino joined the Dead Milkmen as the only member with previous experience playing in rock bands. The group went on to enjoy college radio and modest MTV-based success through eight studio albums and substantial touring before disbanding in 1995.
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On 18 February 1606, under Pope Paul V, the dismantling of the remaining parts of the Constantinian basilica began. The marble cross that had been set at the top of the pediment by Pope Sylvester and Constantine the Great was lowered to the ground. The timbers were salvaged for the roof of the Borghese Palace and two rare black marble columns, the largest of their kind, were carefully stored and later used in the narthex. The tombs of various popes were opened, treasures removed and plans made for re-interment in the new basilica.
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The church shares a number of typical features of 9th–11th century Byzantine architecture. The connection of the central aisle to the subsidiary aisles as well as the narthex is ensured through a triple passage (tribilon). Several architectural elements found at the exterior of the building, such as the dome, the windows and the combination of brick- and stonework, are influenced from contemporary Byzantine churches in western Macedonia. The 10th century dome is the oldest example of circular dome found in the region of Epirus, probably an evolution of the older octagonical style.
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Installation of the mosaics was completed by dozens of artisans, including Hildreth Meiere, Ravenna Mosaic, Inc, and especially the father and son team, Paul and Arno Heuduck, who worked on the mosaic for nearly their entire working lives, and Emil Frei, Inc., of St. Louis. The narthex of the church depicts the life of King Louis IX of France, namesake of the city and church, the rear dome includes mosaics of significant archdiocesan events, while the main dome by Jan Henryk de Rosen depicts Biblical scenes from both the Old Testament and New Testament.
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This was given in memory of Benjamin Tilley (1851-1920) and his wife, Elinor G. Tilley (1855-1930) by their daughter, Elinor Mary Incledon (1878-1954). The Chapel is surrounded on two sides by a parclose screen, completed after the war, and carved partly in an Art Nouveau style by Robert Pancheri. A new baptistry created in the North transept in 1964 was designed by George Pace and a spacious narthex, designed by P. B. Chatwin (Chatwin's son), was added in 1968 to mark the church's centenary year.
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The three aisles are separated by columns, while the two side aisles have galleries above them. At the eastern end of the northern side aisle, a middle Byzantine chapel dedicated to St. Irene is attached. On the northwestern corner of the basilica, the stairway leading to the galleries survives. The current entrance is through a triple-arched opening (tribelon) that connects the narthex with the main nave, while on the southern side there is a monumental entranceway, which probably connected the church with the city's Byzantine-era thoroughfare.
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Recent analysis using carbon-14 however points to a later date for the entire structure, ca. 1329. A depiction of the hegumenos Paul kneeling before Mary, as well as a series of Marian scenes lead to the conclusion that the church was dedicated to Mary, perhaps to be identified with the Monastery of Theotokos Gorgoepikoos. The building belongs to the type of the composite, five-domed cross-in-square churches, with four supporting columns. It also features a narthex with a U-shaped peristoon (an ambulatory with galleries), with small domes at each corner.
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These are particularly important as some of the last examples of Byzantine mosaics (and the last of its kind in Thessaloniki itself). Frescoes complete the decoration on the lower levels of the main church, but also on the narthex and one of the chapels. These too show influence from Constantinople, and were possibly executed by a workshop from the imperial capital, perhaps the same which decorated the Chora Church. They were probably carried out under the patronage of the hegumenos Paul, after 1314 or in the period 1328–1334.
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The Benjamin N. Duke Memorial Organ, dedicated in 1976, was built by the Dutch Flentrop Company in the 18th century styles of Dutch and French organs. Housed in the arch between the narthex and the nave, it contains 5,033 pipes controlled by four keyboards and a pedal keyboard. The organ's main case, in which most of the pipes are housed, is built of solid mahogany and decorated with various colors and gold leaf. tall and deep, the main case is situated on a solid oak balcony overlooking the nave.
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Oslo: Samlaget. The Norwegian long church usually includes a narthex/vestibule in a separate section, often in a somewhat lower and narrower room attached to the main body and traditionally in the western end of the building. Until the 1940 about 850 of Norway's 1300 churches were aisleless, these numbers does not include some 1000 perished stave churches many of which were aisleless. For instance Flesberg Stave Church for 500 years had a rectangular aisleless ground plan until it was expanded in 1735 by adding three arms to a cruciform aisleless shape.
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The nave is a simple hall without aisles. There are two transepts, also without aisles, and these are screened off by two doric columns on each side. Upon entering the cathedral through the centre door at the narthex, one will see the statues of Saint Anthony of Padua and Saint Francis Xavier, the four cast iron Composite columns supporting the gallery, and the two cast iron spiral staircases leading to the gallery. To the left sits a statue of the Pietà and a statue of Saint Joseph stands at the other end.
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The old church features frescoes from several periods on its interior walls. The first layer of mural art was ordered by Radivoy and includes a donor's (ktetor's) portrait of Radivoy and his family presenting a model of church together with Kalevit. The frescoes from this period, which are mostly to be found in the east side of the narthex, are regarded among the most precious Bulgarian art from the 15th century. They have been described as accurate and convincing in their portrayal and as having a warm palette.
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The esonarthex has two domes. The smaller is above the entrance to the northern corridor; the larger is midway between the entrances into the naos and the pareclession. # Enthroned Christ with Theodore Metochites presenting a model of his church; # Saint Peter; # Saint Paul; # Deesis, Christ and the Virgin Mary (without John the Baptist) with two donors below; # Genealogy of Christ; # Religious and noble ancestors of Christ. The mosaics in the first three bays of the inner narthex give an account of the Life of the Virgin, and her parents.
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St. John's Episcopal Church is a historic Episcopal church in Roanoke, Virginia, United States. It was built in 1891–1892, and is a Gothic style blue-gray limestone church designed by Charles M. Burns of Philadelphia. It has a nave-plan with side aisles, a corner bell tower, a sacristy wing, and a transverse chapel and narthex to the rear. The nave features a hammerbeam roof and wooden arcading and is illuminated by stained glass windows in the clerestory and side aisle walls including several by Louis Comfort Tiffany.
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The Hagiasma of Blachernae in a drawing of 1877, from A.G. Paspates' Byzantine topographical studies In 450, Empress Aelia Pulcheria started to build a church near a fountain of holy water () situated outside the walls of Theodosius II at the foot of the sixth hill of Constantinople. After her death in 453, the shrine was completed by her husband, Emperor Marcian.Janin (1953), p. 169. Emperor Leo I erected near the church two other buildings: a parekklesion,The parekklesion is a chapel leaning to the side of the church or of the narthex.
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Icon of Miloš Obilić in Hilandar, depicted as a holy warrior. It was not until the early 19th century that Miloš was also venerated as a saint in the Serbian Church. During the First Serbian Uprising (1804–1813), a fresco of Miloš as a haloed, sword-bearing saint was painted in Prince Lazar's narthex in the Hilandar Monastery on Mount Athos (Greece). The historian Rade Mihaljčić suggests that the cult was a popular movement which originated among the Serbs south of the Sava and Danube during the Ottoman period.
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The main church was built between 1216 and 1238 by Hasan-Jalal (Islamic name), the Armenian prince of Inner Khachen and the patriarch of the House of Hasan-Jalalyan. It was consecrated on July 22, 1240, on the Feast of the Transfiguration (Vardavar) in attendance of some 700 priests. The gavit (narthex), to the west of the church, was started in 1240 completed in 1266 by Atabek, the son of Hasan-Jalal and his wife, Mamkan. Kirakos Gandzaketsi, a contemporary historian, described the construction of the church in his History of Armenia.
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The piece was sculpted from a single block of white granite mined in Galicia, Spain. Its siting makes it appear to rise out of the ground at the entrance of the passageway between the church and its neighbour. A visitor entering through one of the three monumental doorways (of rare amazoué wood) will cross a narthex to get to the aisles and the nave. Its south-north orientation and elliptical form, by architects Corinne Callies and Jean-Marie Duthilleul, has 420 seating places; it is reminiscent of a barque, the symbol of evangelism.
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The monastery was abandoned in 1276. The main surviving structures are the imposing vaulted gate house and the church, especially its western end as well as parts of the defensive wall around the monastery. Excavation to the NE of the east end of the church (possibly a narthex was originally planned but never completed) revealed an arched entrance probably to the refectory which had fallen in an earthquake. The PIMS excavations demonstrated that the abbey was resettled in the late 14th century and inhabited perhaps intermittently until the mid 16th century.
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St. Paul's Church is a historic church at 55 Main Street in the village of Wickford within the town of North Kingstown, Rhode Island. It is a single story Romanesque Revival structure, designed by Rhode Island architect Thomas Tefft and built in 1847. Its main rectangular block has a gable roof, and narrow round-arch windows on the side walls with molded surrounds. The front of the church is asymmetrical, with the tower on the left and its entry slightly off-center between the tower and a small projecting narthex area.
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Tonbridge school chapel as seen from the West looking across The Head The Chapel of St Augustine of Canterbury occupies a central position in the school next to the old buildings and Orchard Centre. The chapel is collegiate in layout with twelve blocks of pews and seats corresponding to the respective Houses. The focal point of the chapel is the stone high altar and there are two pulpits, one each on the north and south sides of the chapel. The narthex or outer lobby of the chapel is also the school war memorial.
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The church is built in the Byzantine architectural cruciform style with three domes. The main church is flanked by two smaller domed chapels, one of which is dedicated to the Life-Giving Spring (Zoodochos Pigi) and the other to Saint John the Theologian. The main church is dedicated to the Holy Trinity and the church has a narthex at the front set at right angles to the main aisle. There are two large Doric-style columns and one smaller, Corinthian-style column on either side of the main entrance.
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To the west of the naos stands the narthex, or entrance hall, usually formed by the addition of three bays to the westernmost bays of the naos. To the east stands the bema, or sanctuary, often separated from the naos by templon or, in later churches, by an iconostasis. The sanctuary is usually formed by three additional bays adjoining the easternmost bays of the naos, each of which terminates in an apse crowned by a conch (half-dome). The central apse is larger than those to the north and south.
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A financial depression was affecting Florida at the time and there was no money to complete it at that time so a temporary wall was constructed at the altar end of the church. When the Very Rev. Charles T. Gaskell was dean from 1971 to 1973, the nave was renovated, the choir gallery was built over the narthex and an 88-rank pipe organ was installed. In a construction project from 1986 to 1987, the temporary wall was removed and the cathedral was completed similar to its original plans when the Very Rev.
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The new parts, presumably built at the order of the abbesses Agana and Hathwig, were an outer crypt, a westwork and a narthex and an external chapel of St John the Baptist. This building can be reconstructed from archaeological finds and did not have a long existence, because a new church was erected, perhaps under the art loving Abbess Mathilde, but maybe only under Abbess Theophanu (r. 1039–1058). Possibly, a new building was begun under Mathilde and completed under Theophanu. Significant portions survive from the new Ottonian building.
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Some original plans for the building included a large campanile tower, but no money was available for it. There is a small bellcote on the south-west side. In the 1980s, the expanding congregation meant that a larger building was deemed necessary, in order to accommodate all the activities that started up during this time. The result was the building of the wrap-around narthex at the west end of the building, designed by Robert Magure & Keith Murray Architects, containing increased office space, more toilet facilities and improved kitchen and meeting room facilities.
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The stable is in Bethlehem, the Temple in Jerusalem, yet here they co-exist and function to bridge a gap from the Old to the New Testament. It the first Early Netherlandish painting where the building's exterior exists on one panel and its interior on the adjacent panel. Van der Weyden achieved an extremely innovative means of moving a narrative in a continuous fashion in this altarpiece. The Presentation occurs in the octagonal building's narthex, surrounded by monumental arches, another bold and innovative use of space and perspective.
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The iconographic program in the inner narthex consists of the menologium, a directory of Memorial Days and religious holidays. Above the western entrance is a depiction of the Dormition. The style of the frescos is that of the Palaiologan Renaissance, which came up in the 13th century and is characterised by the revival of ancient forms with iconographic innovations. One feature is the extension of the colour spectrum by warmer shades like red and the use of white as a highlighter to increase the dimensionality of the clothing.
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It used the Greek cross plan prevalent during the time of the Kyivan Rus, six pillars, and three apses. A miniature church, likely a baptistery, adjoined the cathedral from the south. There was also a tower with a staircase leading to the choir loft; it was incorporated into the northern part of the narthex rather than protruding from the main block as was common at the time. It is likely that the cathedral had a single dome, although two smaller domes might have topped the tower and baptistery.
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The church is constructed in red sandstone ashlar with a green slate roof. From the west its plan consists of a narthex, a two-bay baptistry with narrow aisles, which leads to a three-bay nave with wider aisles, then a two-bay chancel with an organ chamber on the north and a vestry on the south. Each bay of the wider aisles is gabled, the gables containing Perpendicular-style windows interspersed with lancet windows containing stained glass. On the west gable is a double bellcote surmounted by a cross finial.
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The Lady Chapel is off the Ambulatory, near to the Narthex [see Plan]. It is a chapel dedicated to Mary, Mother of Christ. Terry Jones, a young student of sculpture studying at the University of Swansea, was commissioned to fashion in bronze ‘Mary the Woman of Faith’ a simple design to reflect the deep significance of this woman as the Mother of God [G on Plan]. Rather than a queen dressed in finery, it depicts something closer to the truth: a simple peasant woman, without a young child in her arms.
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It was designed by William P. Wentworth. The structure has a traditional cruciform plan with a square bell tower attached to the northeast corner of the church. The tower features a clock on each face side and rounded corners topped with conical pinnacle. Intact interior, original lamb stained glass windows, an arcaded façade with a porch and narthex, and a stone tracery in the west facing Rose Window are also within the church. St. Luke’s is a current nominee for inclusion in the Medina Sandstone Hall of Fame .
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Behind the altar is a mullioned window opening towards the interior of the cathedral, sided by two decorative lozenges which can be seen also on the exterior walls of the apse, and are typical of the Pisane Romanesque style. The right room houses instead a characteristic mitre-shaped fireplace. From the narthex is also accessible the true interior of the church, which has a nave and two aisles divided by columns, with a semicircular apse. The nave is covered by wooden trusses, while the aisles are groin-vaulted.
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The large window in the chancel above the altar, titled "Jesus, the Teacher of the Ages", was also designed by Tiffany studios. It was donated by William P. Hardenbergh after the renovation of the chapel in 1916 and dedicated to his great-great- grandfather and the college's first president, the Rev. Jacob Rutsen Hardenbergh (1735–1790). A large window over the narthex (or the entrance of the chapel) and a choir loft commemorates the signing of charter creating Queen's College in 1766 by New Jersey's last royal governor, William Franklin.
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The middle room (Room C: 5.90x3m) probably served as a narthex. The main part of the shrine was divided into three lateral parts, typical of all mithraea. A central nave about 2.18m wide and 1 meter below ground level was flanked on either side by podium benches for the initiates to recline on during the ceremonies (see Mithraic worship). Steps lead down to the lower floor level of the nave directly from the entrance and the higher benches were accessed by single steps on either side of the bottom nave step.
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Those frescoes include an exquisite representation of the Last Judgment in the upper registers, and the portrait of Nemanja's wife Ana as the nun Anastasija. The earliest fresco painting in King's church marks the supreme achievement of Byzantine art in the region. The frescoes in Radoslav's narthex and the pareclesions originate from the 1230s and display a close relation to the painting style of the main church. The north chapel, dedicated to St. Nicholas, contains a composition of the Hetoimasia and a cycle dealing with the life of St. Nicholas.
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Pierre Bossan plaque. Sculpture by Paul-Émile Millefaut Pierre-Marie Bossan (1814 in Lyon - 1888) was a French historicist architect, a pupil of Henri Labrouste, specialising in ecclesiastical architecture. In 1844 he was appointed architect to the diocese of Lyon, where his major work was the neo- Byzantine basilica of Notre-Dame de Fourvière (1872–84), on a height dominating Lyon. He also designed Lyon's Église Saint-Georges, an extension to the parish church at Ars-sur-Formans (1862–65)The twelfth-century church of Saint Sixte, was rebuilt by the Curé of Ars, as a narthex to the basilica by Bossan.
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The narthex lies on the west side, opposed to an antechoir.Antechoir is the part of the church in front of the Choir, often reserved for the clergy. Many effects in the building were later used in Hagia Sophia: the exedrae expand the central nave on diagonal axes, colourful columns screen the ambulatories from the nave, and light and shadow contrast deeply on the sculpture of capitals and entablature. In front of the building there is a portico (which replaced the atrium) and a court (both added during the Ottoman period), with a small garden, a fountain for the ablutions and several small shops.
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St Luke's Chapel On the north wall of the sanctuary, above the narthex is a Rose Window. On the west wall are five stained glass windows depicting St. Mary, St. Andrew, St. Alban, St. Athanasius, and St. Francis. On the east wall are four stained glass windows depicting St. Joan of Arc, William Tyndale, Samuel Seabury, and John Coleridge Patteson. Four additional stained glass windows depicting the life of Christ were originally hung on the west wall of the sanctuary, but were removed and rehung on the west wall of Neaverson Chapel when it was added onto the church.
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During the Ottoman onslaught the monastery was not destroyed but it is possible that late in 15th century its fraternity was dispersed for some time. The first renovation of a neglected monastery came in 1558, just one year after the Serbian Patriarchate of Peć was restored. The reconstruction undertaken by its abbot Neofit in that year opened a series of works by the rich people from the nearby mining town of Kratovo that at the time flourished itself. In 1581 duke Nikola Bojčić recovered the monastery with lead and in 1588 duke Nikola Pepić (brother of duke Dimitrije Pepić) built the outer narthex.
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Lesnovo monastery in 1912 The oldest part of the church, from 1341, is in form of an inscribed cross with a dome above its center. Its architecture follows Byzantine cannons with alternate layers of brick and stone and decorative arches in two levels (similar to the Church of St Michael in Štip). The narthex, since it was built only a few years later (1347) forms a harmonious whole with same decoration of walls, a smaller dome above it and three double bay entrances. The westernmost part is the much lower addition by duke Nikola Pepić from 1588.
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He was born around 1750, in the village Valea Jidanului in Transylvania, and entered the monastic life at an early age, becoming a novice of the renowned monk Father Paisius Velichkovsky, while the latter still resided at Dragomirna Monastery. Father Iosif died on 28 December 1828, and is buried in the narthex of the main church of the Monastery, "The Dormition of the Virgin Mary." He was sanctified as a Saint in 2005, and he is celebrated on 16 August. In 1787, the Văratec Skete was unified with Toplița Skete to form a larger and better organized monastic settlement.
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Built in the 12th-14th centuries, the Tsalenjikha Cathedral is a central cross-domed church with a narthex and three arcaded galleries two of which, that to the south and north, had been converted into the familial chapel of the House of Dadiani. The church is encircled by the circuit wall with a two-storey bell-tower in its north-western corner. Outside the wall, the Dadiani palace lay in ruins. An interesting structure is a tunnel, 40–45 metres (130-150 ft) long and 3–4 metres (10-13 ft) high, running in a westerly direction from the church.
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The Bulgarians of the Ottoman Empire used to pray at the churches of the Phanar Orthodox Patriarchy, but nationalistic movements allowed Bulgarians a national church in the 19th century, the Bulgarian Exarchate. The richly ornamented church is a three-domed cross- shaped basilica. The altar faces the Golden Horn and a 40 m-high belfry, the six bells of which were cast in Yaroslavl, rises above the narthex. Initially, a small wooden church was erected on the shore of the Golden Horn between Balat and Fener squares (near Eyüp District), where the current church is located.
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Grace Episcopal Church is a historic church on U.S. 31 in Spring Hill, Tennessee. The Carpenter Gothic church building was constructed in 1876–7 and dedicated in 1878 by Charles T. Quintard, Bishop of the Episcopal Diocese of Tennessee. Nashville architect P. J. Williamson designed the building, which was completed at a cost of $1,800. The building interior contains a small narthex, a nave that seats about 100 people, a chancel and altar, and a small sacristy. There is a single belfry with one bell that is labeled “England 1839.” The church was added to the National Register of Historic Places in 1976.
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These before long were incorporated into the church. The devotion of visiting these oratories, which was maintained through the Mediaeval Ages, gave rise to the similar devotion of the seven altars, still common in many churches of Rome and elsewhere. Of the façade by Alessandro Galilei (1735), the cliché assessment has ever been that it is the façade of a palace, not of a church. Galilei's front, which is a screen across the older front creating a narthex or vestibule, does express the nave and double aisles of the archbasilica, which required a central bay wider than the rest of the sequence.
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The monastery was once surrounded by a high stone wall with two gates. The completion of the painting of the main parts of the church can be indirectly dated to between 1263 and 1270. In Sopocani a decorative plan was carried out which was formed throughout the thirteenth century - in the chancel there are liturgical scenes, in the nave Christ's salvation work is shown through a cycle of the Great Feasts, in the narthex the Old Testament, dogmatic and eschatological themes are presented. Through the iconographic portraits of the Nemanjic family and through historical scenes Simeon Nemanja and Saint Sava.
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Ward and Nixon (1844–1848) The abbey's two western towers were built between 1722 and 1745 by Nicholas Hawksmoor, constructed from Portland stone to an early example of a Gothic Revival design. Purbeck marble was used for the walls and the floors of Westminster Abbey, although the various tombstones are made of different types of marble. Further rebuilding and restoration occurred in the 19th century under Sir George Gilbert Scott. A narthex (a portico or entrance hall) for the west front was designed by Sir Edwin Lutyens in the mid-20th century but was not built.
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Kryvka Church (now on display at the Lviv Museum of Folk Architecture and Culture in Lviv, Ukraine) was originally from the Turka district, in the ethnographic territory of the Boyko people. Its tripartite, domed design and all-wooden construction are representative of the regional style. Because most Ukrainian, Rusyn, and Romanian people are Eastern Christians, their building techniques have traditionally incorporated religious considerations into their buildings that are distinct from their Western Christian and Jewish neighbours. Firstly, all churches are divided into three parts (the narthex, the nave, and the sanctuary) and include an iconostasis (a wall of icons).
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The Dmanisi cathedral of the Theotokos (), commonly known as the Dmanisi Sioni church (დმანისის სიონი, dmanisis sioni) is an early medieval basilica located in the heart of the Dmanisi historic site, a ruined medieval town in Georgia's southern Kvemo Kartli region, perched on a promontory at the confluence of the Mashavera and Pinezauri rivers. The church has a three-bay nave, a prominently protruding apse, and a richly adorned narthex added in the early 13th century. The Sioni church is a functioning Georgian Orthodox church, renovated in 2009, and protected by the state as an Immovable Cultural Monument of National Significance.
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Denstone College in the Village of Denstone, Uttoxeter, in Staffordshire was founded by Nathaniel Woodard as the Flagship Woodard School of the Midlands. The school was founded as St Chad’s College, Denstone. The School’s Chapel is named as the Chapel of St Chad with depictions of him around the Chapel’s Narthex. The students of the school wear the famous cross of St Chad which is the school’s logo. The motto of the School is ‘Lignum Crucis Arbor Scientae’ which is Latin for ‘The Wood of the Cross is the Tree of Knowledge’. There are also depictions of him in the School’s Quadrangle.
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The rose window in the west wall William Burges adopted a French Gothic style, similar to that popular in the 13th century, for his design for St Michael and All Angels. The exterior is of small, regular blocks of mostly undressed yellow sandstone quarried from the nearby St Leonard's Forest. Bath Stone is also used sparingly as a dressing material. The building has a tower at the southwest corner with a shingled timber spire, a narthex at the western end (with a large rose window in the west face), a vestry on the north side and a chancel and nave.
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586 Bristol Corporation objected, and in 1540 the church was purchased by Bristol Corporation. He was appointed High Sheriff of Glamorgan for 1543 and 1554, Master of Requests from 1540 to 1554 and was elected knight of the shire (MP) for Glamorgan in 1554. During Queen Mary's reign he served on embassies to Emperor Charles V and to Rome, where he chose to remain on the accession of Elizabeth I and was put in charge of the English hospital of St. Thomas in the city. He is buried in the narthex of the Church of St. Gregory on the Caelian Hill in Rome.
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View from the west The slope, on which the church is located, was previously densely populated, as evidenced by the remains of numerous ancient buildings. Although the original function of the church remains unknown, a large number of burials were found in the settlement, as well as inside the church itself. The Shoan church is essentially a smaller copy of North Zelenchuk Church (besides Shoan having no narthex and western porch). Indisputable proof of copying is a characteristic combination of the eastern corner cells and the side bema into a single compartiment with one blind arch on the side wall.
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The epigram claims that the church was laid out as a replica of the ancient Jewish Temple with the precise proportions given in the Bible for the Temple of Solomon, and using the royal cubit as a unit of measure, as in its model.Hamblin & Seely (2007), p. 109Harrison (1989), pp. 137–144 Richard Martin Harrison, the site's chief excavator, has reconstructed the church as a roughly square basilica, ca. 52 m long on the sides, with a central nave and two side aisles, fronted by a narthex and preceded by a large atrium of 26 m length.
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Nave of St. Peter's Chapel (11th century) St. Peter's Chapel is the oldest existing part of the abbey, probably built between 1030 and 1050.The Abbey of Montmajour, pg. 30. It consists of a narthex and two parallel naves, the older one cut into the rock on the south side of the hill, and an arcade of rounded Romanesque arches resting on columns, creating openings to the rock cemetery. The columns are older than the church, and probably come from Roman buildings in Arles; but the capitals of the columns are carved with Romanesque floral designs.
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They were further decorated with green, yellow, and brown ceramic pieces. This feature is seen in several churches in Messembria, including the Church of St John Aliturgetos and the 14th century Church of Christ Pantocrator—which had rows of blind arches, four-leaved floral motifs, triangular ornaments, circular turquoise ceramics, and brick swastika friezes running along the external walls. Every church in Tsarevets—over 20—and many of the 17 churches in Trapezitsa were decorated with similar techniques. A rectangular belfry above the narthex is a typical characteristic of the architecture of the Tarnovo Artistic School.
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On the opposite side of the nave and set off by a wood slat wall is a small chapel containing one of the two columbaria of the church (the other being outside), after which the chapel takes its name since it is not named for a particular person. The chapel also has a narthex which provides access to the upper gallery, as well as to some of the audio-visual equipment that is utilized by the contemporary services held in the chapel. Stained glass can be found surrounding the chapel, the finest of which is in the small columbarium chapel.
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Michelangelo's plan extended with Maderno's nave and narthex The Pope had appointed Carlo Maderno in 1602. He was a nephew of Domenico Fontana and had demonstrated himself as a dynamic architect. Maderno's idea was to ring Michelangelo's building with chapels, but the Pope was hesitant about deviating from the master's plan, even though he had been dead for forty years. The Fabbrica or building committee, a group drawn from various nationalities and generally despised by the Curia who viewed the basilica as belonging to Rome rather than Christendom, were in a quandary as to how the building should proceed.
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The mosaic in the narthex is of early Byzantine art, a big composition at a size of . There are birds, trees, bushes, a red dog, which is a symbol of paradise, and animals beasts as a domain of the earth. This mosaic dates from the end of the 6th century. The Great Basilica is built on top of another pre-existing one and it is believed to have been built sometime between the 4th and 6th century. The Great Basilica's mosaic floor is depicted on the reverse of the Macedonian 5000 denars banknote, issued in 1996.
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The Agathonos Monastery () is a Greek Orthodox male monastery in Phthiotis, Central Greece. The monastery is located on the northern slopes of Mount Oeta, some 3 km west of the town of Ypati. The monastery's katholikon dates to the 15th century, which is also when the monastery was probably founded, although it may have antecedents as early as 1271, when the ruler of Thessaly, John I Doukas, received horses in the locality. The katholikon is of the Athonite variety of the cross-in-square church with two conchs, narthex, and exonarthex, with four attached chapels on each corner.
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Its floor plan is reminiscent of many other Anglican churches, with the typical tower atop the narthex and the rectangular nave. In a similar manner, the building is constructed in the shape of a cross, due to the construction of transepts connected to the chancel. Even the tower is reminiscent of traditional Anglican churches, due to the presence of a belfry with a steep pyramid-shaped roof and louvred openings. The main body of the church features ogive windows and a gabled facade, while small cloverleaf-shaped windows are placed in the tower above the entrance and below the main windows.
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The large eaves formed by the long ends of the lower rafters and the typical continuous roof over the apses and all around the church complete the list of Moldavian features. The much the lower part of the church represents the Moldavian school as much the superstructure, the double roof and the tower belong to the local constructive tradition. The contrasting fusion between the two models of wooden churches is actually the innovating feature of this church. The superstructure was superimposed on consoles above the lower fabric, designed in the west with a polygonal shape, like the western part of the narthex underneath.
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Early Coptic architecture is therefore of great importance in the study of Early Christian architecture in general. Despite the break with the other churches, aspects of the development of the arrangement of Coptic churches have paralleled those in Orthodoxy, such as the emergence of a solid iconostasis to separate the sanctuary, and the West, such as the movement over the centuries of the place of baptism from the narthex or outer porch into the rear of the nave. However the existence of three altars in the sanctuary, sometimes in separate apses, is typically and distinctively Coptic. The altars themselves are always free-standing.
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The outside of the church The Church of Panagia Protothronos (, "Panagia of the First Throne") is located in the village of Halki in Tragaia, in the interior of Naxos island in Greece. The church is dedicated to the Annunciation, and was probably an early Christian basilica, of which only the synthronon and the episcopal throne in the semi-circular sanctuary conch survive. In middle Byzantine times the building was converted into a transitional cross-in-square church. A domed narthex was later added, flanked by the chapel of Saint Akindynos to the north and a vaulted rectangular room to the south.
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As the fiftieth anniversary of the congregation approached in the 1914, small changes were made to improve the acoustics, ventilation and natural lighting of the building. These alterations included laying a ruberoid flooring, providing new window openings, and installing electric fans at the northern end of the auditorium. A large stained glass window was installed at the northern end of the auditorium, above the narthex, in 1921 in celebration of another anniversary. Following the formation in 1977 of the Uniting Church in Australia, from the Presbyterian, Methodist and Congregational religions, St Andrew's Church is now a Uniting Church.
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The gabled transept end has three semicircular arched window openings, elongated and extending over much of the length of the gabled end. The entrance porch is square planned projection, with a simple roof and housing a semicircular arched doorway providing access to an internal porch leading to the narthex of the church. Above the doorway are several concrete bands one of which is pebble dashed, above these are three small circular windows in a horizontal line with concrete surrounds. The gabled end of the session house is visually dominated by a projecting bay window or oriel, at first floor level.
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The plan consists of a nave with six bays and vaulted side chapels treated like simple arcades, a chancel with its own side chapels (all with apsidal ends), a porch, sanctuary, narthex and mortuary chapel (a later addition). The building lacks a tower or spire, and the effect from the outside is an appearance "as sparing as a friars' church". The "richly decorated" interior has been described as "unexpected" after this simple exterior. The vividly coloured painted murals, some purely decorative and some representative of Biblical scenes, date from 1908–1911 and have been repaired and enhanced since.
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The inner space is divided to alter part, nave and narthex in which baptistery and stairs leading to bell tower are situated. Diff erent from the North and South façade, shaped simply and in the same manner, the West façade is emphasized by distinct portal and wide entrance stairs. Architecture of the cathedral church directly adopted with its assembly and fine proportions the standards of neoclassical churches with recognizable baroque tower, that were built at the same time in Austria. Somewhat older cathedral church in Sremski Karlovci (1758), which also belongs to this group, could have been a possible model.
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The interior plan of the church consists of a nave, a short transept, and a semicircular apse. At the west end of the nave is a narthex. At the center of this is a vestibule leading to the church's main entrance; at the church's northwest corner is a reconciliation room, formerly a baptistry; at the southwest corner is a short passage from which a staircase descends to the basement and another rises to the choir loft. In the loft is the church's organ, a tracker model manufactured by the Hinners Organ Company in 1879; the organ was not originally built for St. Leonard's.
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In the 13th century a south aisle was added to the nave, a south chapel was added beside the presbytery and the apsidal chancel was replaced with a rectangular one. In the 14th century the west tower was heightened again and the present broach spire was added. Archaeological excavations have shown that the original church had side chambers, called porticus, that would have extended either side of the present nave. At the position of the present tower was a narthex, and original pillars now covered by flooring show that there was a three- arched opening between the nave and the presbytery.
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Sava died while heading home from a Holy Land trip, while visiting the Bulgarian court in 1235, and was respectfully buried at the Holy Forty Martyrs Church in Tarnovo. Sava's body was returned to Serbia after a series of requests, and was then buried in the Mileševa monastery, built by Vladislav in 1234. Sava was canonized and his relics were miraculous; his cult remained important throughout the Middle Ages and the Ottoman occupation. Radoslav added a narthex to the church in the Studenica Monastery According to Fine both Radoslav and Anna retired into monastic life following their deposition.
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The monastery was attacked in the 14th century by Lenk Timur whose armies destroyed its walls and narthex, known in Armenia as gavit. In the 14th or 15th century, after the fall of the Mongols, Ak-Koyunlu and Kara Koyunlu tribes attacked and "devastated" the region, including the monastery church gavit, monastery defense walls, and service building. Without restoration of the destroyed buildings and walls, the church of the monastery stood until the Persian- Ottoman War when in 1604 thousands of Armenians were forcibly resettled under Shah Abbas. The church and the remains of the monastery remain.
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Residents had to adhere to only two basic rules – to spend the night in a hospital and attend services in the temple. In the center of the ensemble was the church of Nikolai Ugodnik, connected to the premises of the hospital (demolished in Soviet times). According to one of the researchers, the temple had common architectural features with the famous church of San Carlo alle Quattro Fontane in Rome – the creation of the famous Italian architect Francesco Borromini. The main facade of the temple with its curvature resembled an altar apse, but was facing north and served as a narthex.
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Internally, St Paul's has a nave and choir in each of its three bays. The entrance from the west portico is through a square domed narthex, flanked by chapels: the Chapel of St Dunstan to the north and the Chapel of the Order of St Michael and St George to the south. The nave is in height and is separated from the aisles by an arcade of piers with attached Corinthian pilasters rising to an entablature. The bays, and therefore the vault compartments, are rectangular, but Wren roofed these spaces with saucer-shaped domes and surrounded the clerestory windows with lunettes.
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On the south side, the church has been demolished and rebuilt, and the southern half dome and the southern bay of the narthex have been removed and replaced by three aisles. The interior has been stripped of the original decoration, but it is filled with icons and other ornaments, making an examination of the church very difficult. On the eastern wall there is a large representation of the Last Judgement, perhaps painted by Modestos in 1266. Moreover, noteworthy are a mosaic Icon from the eleventh century portraying the Theotokos, and four Icons dating from the thirteenth and fourteenth century.
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Russian Painting: Biography In 1865, his painting "Wake in the Village Cemetery" earned him the rank of "Artist First-Class" and, three years later, he was named an Academician. In addition to his paintings of daily life, he did portraits and religious works. These include icons and depictions of the Four Fathers of the Church at the Cathedral of Christ the Saviour; wall paintings at the ; and thirteen images for the narthex of Nativity Cathedral, Riga. He also exhibited widely, including the Second Annual International Exhibition in London (1872), the Weltausstellung in Vienna (1873) and the Centennial Exposition in Philadelphia (1876).
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Below the narthex of the church is the crypt which was adapted during 2007. It is installed new ground marble, climatization, and ventilation, sound system, and graves were readopted. In it are several tombs transferred from the original church: Metropolitan Teodosije (1815–1892), Bishop Viktor of Niš Viktor (1797–1888), Bishop Gavrilo (Popović, 1811-1871) of Šabac, and Bishop Mojsije of Timok (1835–1896). Also interred here are King Alexander Obrenović and Queen Draga (†1903), Ana Jovana Obrenović (†1880), Princes Milan M. Obrenović (1819–1839) and Sergije M. Obrenović († 1878), and the grave of the patron endower of the old church, Lazar Panća.
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The narthex screen is carved of Caen stone limestone When Old South's church opened in 1875 it looked very much as it does today, based upon the design of Cummings and Sears. The walls were decorated in polychrome stenciling in shades of complex tertiary colors: a rose madder background with overlays of ochre, bay leaf green, warm gray, and persimmon, and highlights of metallic gold. Most of the interior structure, except for the carved wood frieze along the balconies, was already in place by 1875. High above the crossing of the transepts and nave is the lantern, or cupola.
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Although the Council itself said little about church architecture, its suggestion of simplification prompted Charles Borromeo to reform ecclesiastical building practise. Evidence of attention to his writings can be found at the Gesù. There is no narthex in which to linger: the visitor is projected immediately into the body of the church, a single nave without aisles, so that the congregation is assembled and attention is focused on the high altar. In place of aisles there are a series of identical interconnecting chapels behind arched openings, to which entrance is controlled by decorative balustrades with gates.
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The Cathedral of St John the Baptist is an example of 19th-century Gothic revival architecture. By the 19th century Catholics were once again free to worship in public and the Cathedral was a gift to the city by Henry Fitzalan Howard, 15th Duke of Norfolk, as part of his personal mission to bring Catholicism into the centre of English life. It was designed in the Early English style by George Gilbert Scott Junior, has 19th-century stained glass, a wealth of Frosterley marble and stone carving. The Cathedral also incorporates the Narthex – a new visitor centre.
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The roof is tiled. The church has a chancel, chancel arch, nave with aisles on the north and south sides, vestry at the northeast corner, baptistery, buttressed narthex (entered from the nave through arches in the buttresses, beneath an overall arch and tympanum) and clerestories above the aisles. Both the aisles and the clerestories have five pairs of lancet windows. Interior features include a sedilia, organ chamber, choir stalls, chancel screen, ornate multi-sided pulpit with green marble work, stone reredos designed as a triptych and depicting the Ascension of Jesus, and a marble font depicting an angel kneeling with a shell.
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After his return to Rome, he was nominated as the architect of the pontifical palaces by his Florentine countryman Pope Clement XII Corsini, a position later confirmed by Benedict XIV. Fuga's masterwork is the palazzo-like screening façade he erected in front of the basilica of Santa Maria Maggiore (1741–1743). A similar project, considered to be a dry run for the greater project, is the façade he provided for Santa Cecilia in Trastevere. In both cases, care was taken not to mar the mosaics of the medieval fronts that still lie behind Fuga's screens, which provided a narthex for each ancient basilica.
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The new church retained the wide > proportions, Georgian nave and a new apsidal chancel and tower were added. > The windows were remodelled and an exterior crenelated parapet and new roof > added. The Historic England summary states that the church features a "wide nave with lower and narrower chancel, west tower flanked by gallery stair turrets and with west narthex" and that the exterior is "in a lavish free Perpendicular style". The wall paintings were executed by Alfred Octavius Hemming in 1898, when six tubular bells for the tower were added, and new stained glass was inserted.
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The early Christian basilica is positioned east-west and has one nave and the altar. The entrance is facing the west, while the altar apse, the most significant and the holiest part of the Church, is facing the east. Remains of additional buildings are located near the nave of the Basilica - one to the north and two to the south – which creates the impression that the Church has three naves. In the west all three parts of the Church are united by the narthex (the church hall) which stretches throughout the entire length of the space.
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Early Christian Basilica Cim has all the elements of the early Christian sacral building: narthex in the west part of the Church, nave (temple) in the centre, presbytery (altar area), baptistery (baptismal font), as well as deacontry and prothesis in the south part. A memoria whose shape, with one nave, resembles the shape of the Church is located south of the Church. The memeoria is connected with the main church area with a wall. The door at the south wall of deacontry is the only way of communication between “the church for the dead” and “the church for the living”.
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In the Church grounds is an oak tree, grown from an acorn acquired in Hyde Park, London, by a Mr Hill (probably Private Lyall George Hilll, Australian Imperial Force, enlisted 5 June 1916), a local resident. In 1916, the gift of the Eales family of encaustic tiles from Duckenfield Park House, demolished in that year, transformed the floor of the Nave. In 1924 the narthex, or porch, was tiled in a different pattern. In 1927 a new altar was installed, further reflecting the High Church ideal, while in 1939 the roof slates were replaced with asbestos tiles and some rafters were replaced.
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As the mother church of one of the oldest dioceses in New South Wales, the cathedral has seen many changes over its lifetime making it truly a historical document in stone. In spite of all the changes however the cathedral is today substantially the same imposing building planned and built by Fr Dean Grant as his visionary 'cathedral' for Bathurst over a century ago. A high nave and a stained glass window by John Hardman & Co. Dominate the west end. The tower, low in comparison to the nave, marks the old west end before a new narthex was added.
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The divine coronation of Roger II of Sicily The interior of the Martorana, before restoration (19th-century paintings). The name Ammiraglio ("admiral") derives from the founder of the church, the Syrian christian admiral and principal minister of King Roger II of Sicily, George of Antioch. The foundation charter of the church (which was initially Eastern Orthodox), in ancient Greek and Arabic, is preserved and dates to 1143; construction may already have begun at this point. The church had certainly been completed by the death of George in 1151, and he and his wife were interred in the narthex.
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In the Eastern Orthodox and Oriental Orthodox Churches, the Rite of Betrothal is traditionally performed in the narthex (entranceway) of the church, to indicate the couple's first entrance into the married estate. The priest blesses the couple and gives them lit candles to hold. Then, after a litany, and a prayer at which everyone bows, he places the bride's ring on the ring finger of the groom's right hand, and the groom's ring on the bride's finger. The rings are subsequently exchanged three times, either by the priest or by the best man, after which the priest says a final prayer.
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It is a cruciform building, with an apse, central tower and narthex, built throughout of Purbeck stone. Its tower dominates the landscape. The tower, which is somewhat disproportionate in size to the rest of the church, was made large enough to contain a full ring of eight bells, which were cast and installed by John Taylor & Co., of Loughborough, in 1880. Two more bells were added in 2000 to make a ring of 10 bells. Dove's Guide - Kingston St James Inside the clustered pillars and other details are made of Purbeck marble, quarried from Lord Eldon’s estate and worked by his own craftsmen.
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One of the carved figures on the pulpit is said to be the image of a former Mayor of Melbourne's daughter who died in infancy. The floor is entirely paved with encaustic tile imported from the English firm of Maw & Co., featuring both patterned layouts and patterns within the tiles, while the dado is created with patterned glazed tiles. In Persian tile on the rear wall of the narthex is a replica of an 8-pointed star found in two churches of the Anglican Diocese of Iran, the church of St Simon the Zealot in Shiraz and St Luke's Church in Isfahan. There are two baptismal fonts.
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About his experience of walking into the church, Thompson has said, "The moment I crossed the threshold from narthex to nave, I had a deep sense that I had come home". He joined the Episcopal Church shortly thereafter, which he has described as combining "the Methodist theology of hospitality and grace" with "Catholic sacramental and liturgical worship". Thompson graduated with a BA, magna cum laude, from Hendrix College in Conway, Arkansas in 1995, where he also received the college's President's Medal, presented to the student who best exemplifies the school's highest ideals. Thompson went on to earn an MA degree from the University of Chicago Divinity School in 1998.
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The sanctuary, which is above the rest of the church, contains an altar, tabernacle, pulpit, lectern, and kneelers for lay readers and altar servers. On the sides of the church are seven large stained-glass windows. Between each stained-glass window is two large stone sculpture attached to the wall, with each depicting a Station of the Cross. The choir loft, which is above the narthex, has the second organ console (the organ console on the main floor and the choir loft organ are connected to the same pipes), and also contains spare music, ladder to the belfry, and also all the pipes and reeds to the two organ consoles.
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The ruins of a 6th-century basilica at Tsikhisdziri. Mainstream scholarly opinion identifies Petra with a ruined settlement found in the village of Tsikhisdziri, in Georgia's southwestern autonomous republic of Adjara, between Batumi and Kobuleti. It contains ruins of a citadel—200 m in length and 100 m in width—located on two neighboring rocky seaside hills and a large 6th-century three-nave basilica with a narthex, projecting apse, and mosaic floor, which was probably a bishop's seat. Other buildings from that time are a bath, water cistern, several other structures—remains of an urban settlement—as well as more than 300 burials located nearby.
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A comprehensive interior renovation was completed in 1991, in time to celebrate the 150th anniversary of construction. The church features a slender Georgian-style brick tower, painted white, which rises to a height of 150 feet above the narthex and contrasts sharply with its surroundings. The tower rests on an octagonal base and supports three successive indented tiers (one octagonal and two cylindrical), capped by a copper-sheathed dome and twelve-foot gold-leafed cross. Visually paired with the nearby red brick historic Phoenix Shot Tower, St. Vincent's white bell tower still serves as an iconic image for the historic Jonestown neighborhood of Baltimore.
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Seating for the congregation, illuminated by clerestory windows, is located within the nave and transepts and is separated from the side aisles by an arcade. A mezzanine, located above and to the west of the nave, is provided to accommodate choir, organ and musicians. The transition from the sacred spaces to the surrounding grounds is bridged by a tall narthex, from which one may also access the Chapel of All Saints. Outside of the main entrance is a public plaza to allow vehicles to approach the cathedral and circulate out to parking areas, as well as to serve as a gathering place for those visiting the Cathedral.
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The Chapel of All Saints, which is intended to serve as a place of quiet reflection and Adoration of the Blessed Sacrament, is embedded into the main cathedral building with its windows facing south and is entered from the narthex. The chapel seats forty congregants, and features marble liturgical furnishings that relate to those in the main sanctuary. The Chapel Tabernacle, much like the Main Tabernacle, is designed as a miniature, idealized version of the chapel. The architect designed the tabernacle so that its façade appears as he imagined the front of the chapel itself might have been, had it not been conjoined with the main building.
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In 1930, a devastating fire destroyed the wooden church in Costești, a small town in Argeș County, Romania, and killed 118 people, mostly primary school and high school students, the youngest, a girl of eight years. The event was also known in Romanian press as Black Easter. The fire took place on April 18, 1930, during a religious service on Good Friday, when hundreds of people from the Orthodox community gathered at the wooden church in the town, built in the eighteenth century. The church was no more than 48 square meters and so children, singers and some elders gathered in the narthex while parents listened to service from outside.
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The Tsikhisdziri fortress was situated on two coastal hills, connected to each other through double walls. On the territory of the citadel, the area of which totals around 1.5 h, are the ruins of a 6th-century three-nave basilica with the dimensions of 33X17.80 m, with narthex, projecting apse, and floor mosaic, and remains of two other churches, one from the early Christian period and the other dated to the High Middle Ages. Close to the basilica is a 6th-century bath (9.5X6.5 m) and a water cistern. North to the citadel are the ruins of an urban settlement and hundreds of burials.
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Above the dome is a flesche or lantern topped with a bronze cross, measuring another , making the total height above floor level. The marble altar is located underneath a marble-columned baldacchino. In 1991 its old copper roof was replaced, stopping the water leaks and damage and that were occurring. In 2011, after being named one of 25 Twin City finalists, the building was the recipient of a $100,000 preservation grant from Partners in Preservation, chosen through a public vote; the funds were used to repair the narthex and sacristy of the Basilica, and help restore the paint and gold leaf found throughout the structure.
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On the fortieth day after childbirth, the mother is brought to the temple to be churched; that is to say, to receive a blessing as she begins attending church and receiving the sacraments once again. The child (if it has survived) is brought by the mother, who has already been cleansed and washed, accompanied by the intended sponsors (Godparents) who will stand at the child's baptism. They all stand together in the narthex before the doors of the nave, facing east. The priest blesses them and says prayers for the woman and the child, giving thanks for their wellbeing and asking God's grace and blessings upon them.
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However, the 19th-century Russian archimandrite Antonin further reported that the church was abandoned already in the 16th century, along with the wider area. In 1821, during the Greek siege of the Acropolis, it was severely damaged by a cannonball fired by the Ottoman defenders: two-thirds of the dome and the entire west wall, as well as the vaults above the narthex, collapsed. As a result, after the end of the Greek War of Independence it was abandoned and gradually fell to ruin. In 1847, the Russian tsar Nicholas I proposed to acquire the church to provide religious services to the Russian community in Athens.
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Dejan Manjak (, 1333) was a nobleman in the service of Serbian King Stefan Dušan, only mentioned in a charter dated January 22, 1333, in which Stefan Dušan officially sold Ston and Prevlaka to the Republic of Venice. Based on the order in which the witnesses appear, vojvoda Dejan was of lower rank than stavilac Miloš. K. J. Jireček suggested that Dejan Manjak was the same person as Dejan, the sevastokrator of Dušan. According to two fresco compositions dated between 1332 and 1337 in the Kučevište Monastery, in the narthex, on the northern and southern wall, Dejan had a wife, Vladislava, and two sons, Jovan and Dmitar.
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A=Altar, B=Chancel, C=Crossing, D=Nave, E=Aisles, F=Vestibule, G=Arcade, H=East Transept with Transept Gallery above, J=West Transept/Side Chapel with Transept Gallery above, K=Round Room The church is a cruciform structure; its original structure, which included a clock and bell tower with an 80-foot (24 m) spire, was long and wide. The facade faces the Inner Quad, and is connected to other buildings by arcades which extend laterally. The entry is through a narthex or vestibule extending across the building. The nave has a single aisle on either side, separated by an arcade with a clerestory above it.
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1100) when the austere and hieratic manner typical for the Macedonian epoch and represented by the awesome Christ Pantocrator image inside the dome, was metamorphosing into a more intimate and delicate style, of which The Angel before St Joachim — with its pastoral backdrop, harmonious gestures and pensive lyricism — is considered a superb example. The 9th- and 10th-century mosaics of the Hagia Sophia in Constantinople are truly classical Byzantine artworks. The north and south tympana beneath the dome was decorated with figures of prophets, saints and patriarchs. Above the principal door from the narthex we can see an Emperor kneeling before Christ (late 9th or early 10th century).
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The dome mosaic is similar to that of the Cappella Palatina, with Christ enthroned in the middle and four bowed, elongated angels. The Greek inscriptions, decorative patterns, and evangelists in the squinches are obviously executed by the same Greek masters who worked on the Cappella Palatina. The mosaic depicting Roger II of Sicily, dressed in Byzantine imperial robes and receiving the crown by Christ, was originally in the demolished narthex together with another panel, the Theotokos with Georgios of Antiochia, the founder of the church. In Cefalù (1148) only the high, French Gothic presbytery was covered with mosaics: the Pantokrator on the semidome of the apse and cherubim on the vault.
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Saint George, Archangel Michael and Saint John the Baptist are given a special place in the iconographic programme. Another three representations are dedicated to Saint George: in the Deesis, where he takes the place of Saint John the Baptist, on the vault of the northwest corner bay and on the south wall of the southwest corner bay. The wall-paintings are covered in places by a second painting layer of the 13th century, restricted to the half dome of the apse and the lower registers of the walls. Two or three layers of wall-paintings are also found in the narthex, which is of funerary character.
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It is built without windows, on which a wooden tiled roof is based, four-pitched, with a perimeter overhang of about 0.35m wide. The soil in the immediate vicinity of the church is covered with vegetation. According to the literature, the church was built in one phase, while its wall paintings dates back to 1729, according to a founding inscription, which is saved intact above the northern entrance of the main church (inside). Internally the church is divided, with by a plastered wooden partition, in a narthex and main part of church, which is separated from the sanctuary by a wooden iconostasis with two gates.
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Though its name as the 'Great Church' implies it was larger than other Constantinopolitan churches, the only other major churches of the 4th century were the Church of St Mocius, which lay outside the Constantinian walls and was perhaps attached to a cemetery, and the Church of the Holy Apostles. The church itself is known to have had a timber roof, curtains, columns, and an entrance that faced west. It probably had a narthex, and is described as being shaped like a Roman circus. This may mean that it had a U-shaped plan like the basilicas of San Marcellino e Pietro and Sant'Agnese fuori le mura in Rome.
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Wagner's mother, father and aunt are all commemorated in the designs, along with some important members of Brighton's Anglican community and other figures. Alterations in 1861 included the construction of a narthex at the western end, additions to the rood screen between the chancel and the nave, and a reredos designed by Edward Burne-Jones, whose career as an artist was just beginning at this time. The reredos was designed as a triptych; in its central panel, depicting the Adoration of the Magi scene, one of the Magi is a representation of William Morris, the artist, writer and socialist activist: Morris and Burne-Jones were friends and artistic collaborators.
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Construction started in 1764 and the new, larger structure, with one nave and a vaulted ceiling, was completed in 1767. However, the ceiling collapsed killing 90 people, due to the lack of supporting pillars. In 1772 the church was rebuilt on a cruciform plan with three naves, a new portico was added to the north facade, the main western facade was enlarged and a new bell-tower was built on the north-western corner. In 1783 the cathedral underwent a series of modifications, including the addition of the narthex to the western facade and the enlargement of the apse to fit the central axis of the cathedral's main altar.
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First Baptist Church of Painted Post is a historic Baptist church located at Painted Post in Steuben County, New York. The church was originally built in 1860 and expanded and remodeled in 1915 after a fire destroyed the mid-19th century building's tower and spire. The three-part church consists of the main block—a , , gable-roofed edifice built in 1860 and now containing the sanctuary; the front wing—a , addition built in 1915 and now containing the foyer and narthex; and a noncontributing rear addition. The front wing features two massive square corner towers surmounted by louvered bell towers and bell curved roofs.
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The façade of the church dates to prior the 17th-century renovation, as it was restored to its original appearance in 1926. Some elements of the 17th-century structure remain, however, such as the narthex, which replaces the 13th-century one. The traditional façade a capanna, shows the gable end of the nave, flanked by the sloping roofs of the aisles, the frame supported by Lombard bands in terracotta. Notable is the entrance portal, dating most likely to the early 16th century: it has sculpted figures of Saints Robert, Alberic, Stephen and Bernard, surmounted by the church's coats of arms: a stork with crosier and mitre.
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The church was re-dedicated on 24 June 1996, the feast day of its patron saint, by Cardinal John Joseph O'Connor, Archbishop of New York. The church's organ and choir gallery, as well as a number of statues and stained-glass windows, were destroyed in a fire on 10 January 1997. The damage was eventually repaired and the organ was replaced with an electronic one. According to bronze memorial plaques affixed to the wall of the narthex, for the 160th anniversary of the parish and the Great Jubilee Year of 2000, the bell tower was restored by funds provided by Antonio D'Urso and his wife Giovanna Parpo in 2000.
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Behind it is a statue of a nun, all beneath a rounded arch Work on the stained glass windows that enclose either aisle began in 1928 and continued into the 1940s. They show scenes from the lives of the saints, the catechism, and the Gospel; in particular, the saints are shown in such a way that illustrates each of the Beatitudes with which they are associated. Individuals depicted in the windows include: St. Stephen, St. Catherine of Siena, St. John the Baptist, St. Peter, St. Paul, the Four Evangelists, and Pope Leo XIII with Mother Cabrini. Additional stained glass windows were added over the narthex in 1986.
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Characters of the myth have been also recorded in the works of Đorđe Branković, Vasilije Petrović and Pavle Julinac. During the 18th century, anti-Ottoman sentiments increased, and more comprehensive Kosovo legend became an integral part of the oral tradition. During the First Serbian Uprising (1804–1813), a fresco of Miloš as a haloed, sword-bearing saint was painted in Lazar's narthex in the Hilandar Monastery on Mount Athos, Greece. Philologist Vuk Karadžić collected traditional epic poems related to the topic of the Battle of Kosovo and released the so-called “Kosovo cycle”, which became the final version of the transformation of the myth.
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In 1832, a firman of the Ottoman sultan allowed the construction of a new monastery church; the church was designed by the noted Bulgarian National Revival architect Kolyu Ficheto and completed in 1834. The cross-shaped church features three apses, a single dome and a covered narthex. The icons and frescoes of the main church were painted by another famous artist, Zahari Zograf, who worked in the monastery between 1849 and 1851, after he finished his decoration of the Troyan Monastery. Among the more notable murals are those of the Last Judgment, the Wheel of Life, the Birth of the Mother of God, the Last Supper.
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In 1827, it was enlarged by the addition of a minaret, minbar, mihrab, a new ceiling and a narthex (son cemaat yeri) and thus converted into a full mosque. The construction was financed by Ali Ruhi Efendi, the governor of Cyprus at the time, and the mosque was inscribed amongst the property of the newly founded Ali Ruhi Efendi Foundation on 24 December 1827 for maintenance. The responsibility for the maintenance changed hands over the course of the 19th century, as it was recorded amongst the property of Seyit Mehmet Ağa Foundation in 1906. Ali Ruhi Efendi also had a primary school (sıbyan mektebi) constructed next to the mosque.
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A copy of the marriage certificate is exhibited by St. Paul's in the church narthex. The church is included in the local Ellicott City Historic District. In a 1977 draft nomination for the church to be listed on the National Register of Historic Places (which appears never to have been submitted), it was noted that "In addition to its historical merit it is an outstanding example of American eclectic architecture, blending elements of the Gothic and Romanesque in its fenestration and entrances with simple granite architecture so indigenous to Howard County." St. Paul's Church created a chapel for the students of Rock Hill College in 1859.
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Due to the very favourable reception of this work, Hobbs was commissioned for further mosaics: the chapel to Saint Joseph which contains mosaics of the Holy Family (2003) and men working on Westminster Cathedral (2006). Hobbs also did the chapel in honour of Saint Thomas Becket illustrating the saint standing in front of the old Canterbury Cathedral on the chapel's east wall and the murder of Thomas on the west wall. The vault is decorated with a design of flowers, tendrils and roundels (2006). As of 2011, there were plans for further mosaics, for example Saint Francis of Assisi and Saint Anthony in the narthex.
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Miller Chapel is the spiritual center of the Princeton Theological Seminary, located in New Jersey, United States, and has been in continuous use since its completion in 1834. It was built by renowned local architect and builder Charles Steadman in stuccoed brick with a simple Doric portico. As the chapel of the oldest Presbyterian Seminary in the United States, the building has been home to many of the most important Presbyterian theologians, including the great figures of the Princeton Theology. The narthex has plaques that honor Samuel Miller, after whom the chapel is named, Charles Hodge, Archibald Alexander Hodge, Caspar Wistar Hodge, Sr., and B. B. Warfield.
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The Basilica di San Pietro was the first cathedral of the Christian era, then transformed into a tomb of Saint Sabino (556), patron of Canosa. The complex is with three naves, apse and narthex of St. Peter's, preceded by a large atrium portico and bordered by a residential building and several other structures used in cemetery functions: a mausoleum, the Sepulchre of Bishop Sabino, a large brick kiln devoted to cooking and a domus, used probably as a bishop's residence. Also present are mosaics and Doric-Ionic capitals. Since 2001 the entire area is ongoing systematic excavation by the University of Foggia and the University of Bari.
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They are commonly located close to springs or streams; fresh water appears to have been required for some Mithraic rituals, and a basin is often incorporated into the structure. There is usually a narthex or ante-chamber at the entrance, and often other ancillary rooms for storage and the preparation of food. The extant mithraea present us with actual physical remains of the architectural structures of the sacred spaces of the Mithraic cult. Mithraeum is a modern coinage and mithraists referred to their sacred structures as speleum or antrum (cave), crypta (underground hallway or corridor), fanum (sacred or holy place), or even templum (a temple or a sacred space).
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The difference is that Sant Climent de Taüll has three naves and three apses, and a bell tower, whereas early Christian architecture has side aisles, transepts, a narthex and an atrium. In addition, the Santa Maria Maggiore, a basilica in Rome, has a clerestory, whereas the Sant Climent de Taüll is the opposite because it has very few windows.Monica Walker, "Early Christian Art" (lecture, University of Waterloo, Waterloo ON, January 3–5, 2012) The mural paintings in Sant Climent de Taüll have elements similar to early Christian paintings. In the central apse of the church, there is a figure of a Pantocrator (Christ in Majesty) surrounded by a mandorla.
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The Chora Church is not as large as some of the other surviving Byzantine churches of Istanbul (it covers 742.5 m²) but it is unique among them, because of its almost completely still extant internal decoration. The building divides into three main areas: the entrance hall or narthex, the main body of the church or naos (nave), and the side chapel or parecclesion. The building has six domes: two above the esonarthex, one above the parecclesion and three above the naos. Governor Quirinius Mosaic of the journey to Bethlehem The mosaic in the lunette over the doorway to the esonarthex portrays Christ as “The Land of the Living”.
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About Mount Pleasant Lutheran Church website The church was designed to represent the crown of thorns worn by Jesus Christ during his crucifixion. It includes a dome enclosed in a metal band with outward protruding thorns and a towering metal cross rising skyward. Part of the church was built underground and it has been expanded with an education center, also built underground with skylights. A narthex foyer is part of the complex and the church's entrance includes a stained glass wall by church member and artist Cathy Meader (who designed it in memory of her father Robert Bohm who oversaw construction of the original church building).
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These informations are confirmed by the poem of Pope Damasus I (366-384), engraved on a marble plate by his dal suo calligraphist Furius Dionisius Filocalus: this plate, reused as a paving stone and casually doscovered, is now placed into the narthex of the basilica di Sant'Agnese fuori le mura. Other eminent testimonies about the life of martyr Agnes are given by the writings of some Church Fathers: De virginibus and the hymn Agnes beatae virginis by Saint Ambrose, and the Liber Peristephanon by Prudentius. The “Passio sanctae Agnetis”, that blends the previous testimonies with doxologic and hagiographic purposes, was written in the 5th century.
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Copies from 60 Serbian medieval churches and monasteries had been brought to the St. George church at Oplenac. The entire mosaic has 725 painted compositions (513 in the temple and 212 in the crypt), on which there are 1500 figures. The entire area of the mosaic is ; with 40 million various coloured pieces of glass which have 15 thousand different varieties of colour, making vivid artistic impression. To the right side of the entrance, on the entire southern wall of the narthex, is the painting of the trustee, King Peter I, holding the model of his church on the palm of his left hand, wearing a crown and coronation ornaments.
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An icon salvaged from the original church, which had been housed in the Church of the Holy Unmercenaries, was transferred to the new church where it is still preserved in the narthex (or lobby area). The north aisle dedicated to Saint Nicholas replaced the Dominican church of St Nicholas in the Splantzia part of the town which the Turks had converted to a mosque. Following the building of the bishop's house, the church became the cathedral of what was then the capital of Crete. The cathedral was damaged in the Greco-Turkish war of 1897 but restored at the expense of the Tsar of Russia, who also donated the cathedral's bell.
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In addition, many Christians (Mozarabs) lived in Moorish territories and were allowed to practicise their religion and build churches. Asturian architecture and Mozarabic art influenced Christian buildings in the future Portuguese territory, as seen on the few structures that have survived from this time. The most important of these is the Church of São Pedro de Lourosa, located near Oliveira do Hospital, which bears an inscription that gives 912 as the year of its construction. The church is a basilica with three aisles separated by horseshoe arches, a narthex on the façade and mullioned, horseshoe-shaped windows of Asturian influence on the central aisle.
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309 This notion of Monotheletism, the Doctrine of the Single Will as proscribed in the Ecthesis was sent as an edict to all four eastern metropolitan sees. A copy was posted in the narthex of Hagia Sophia, and when Sergius died in December 638, it looked as if Heraclius might actually achieve his goal, with the eastern patriarchs agreeing to the formula, and gaining many adherents across the east, including Cyrus of Alexandria and Arkadios II of Cyprus. But during 638 in Rome, Pope Honorius I who had seemed to support monothelitism died. His successor Pope Severinus condemned the Ecthesis outright, and so was forbidden his seat until 640.
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The current church was started around 1085/90 as a High Romanesque basilica. It was likely finished in 1118. Between 1171 and 1232 a late Romanesque renovation followed. The roof truss above the choir was finished in 1194. The next stage of work already took place in the transitional period from the Romanesque to the Gothic: Between 1253 and 1276, the narthex also known as Paradies, was added. The two fully Gothic southern side aisles date to 1290 to 1323. The Gothic Marienkapelle was constructed in 1354-65/6. The (half- timbered) chapter hall was built on top of the northeastern crypt around 1560.
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The Eastern Orthodox and Eastern Catholic Churches practice the ritual of the Washing of Feet on Holy and Great Thursday (Maundy Thursday) according to their ancient rites. The service may be performed either by a bishop, washing the feet of twelve priests; or by an Hegumen (Abbot) washing the feet of twelve members of the brotherhood of his monastery. The ceremony takes place at the end of the Divine Liturgy. After Holy Communion, and before the dismissal, the brethren all go in procession to the place where the Washing of Feet is to take place (it may be in the center of the nave, in the narthex, or a location outside).
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The buildings are all disposed around a courtyard. The catholicon was on the eastern side, the refectory and the kitchen, on the western side and the bathhouse, which was transformed into the monastery's olive oil extractor during the Turkish rule, and, finally, the monks' cells in front of which there was an open arcade. The catholicon is dedicated to the Presentation of the Theotokos in the Temple and had the basic cross shape, faithful to Greek tradition, according to M. Sotiriou, or the semicircular quadripartite according to Anastassios Orlandos. The entrance of the temple was located on its western side without being separated by a narthex.
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300px St James's Church (Flemish - Sint-Jacobskerk; French - Eglise Saint- Jacques) is a church dedicated to James the Less in the Belgian city of Liège, founded in 1015 by bishop Baldrick II as the church for a Benedictine abbey. On the demolition of St Peter's Church it became one of the seven collegiate churches in the city. Its chapter was abolished in 1801 and the church converted into a parish church. It retains its original Romanesque narthex on the west side, whilst the rest of the church is in the late Gothic style, with richly-decorated nave vaulting dating to between 1514 and 1538.
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After putting on his phelonion, the priest says the Prayer of the Entrance, and he and the deacon go out the side door of the Iconostasis to make the Little Entrance with the censer. After the prokeimenon (and, on feast days, readings from the Old Testament) the deacon recites the ektenias, and the priest says a prayer while all reverently bow their heads. Then all go in procession to the narthex of the church while the choir chants stichera proper to the feast. There the deacon recites the Litiy (an ektenia, invoking the names of many saints, to which the choir answers Kyrie Eleison many times).
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The columns continue in the entrance hall (narthex), flanked by the smaller rectangular chapels. The main room is circular and cylindrical, 25 m in diameter and 17.5 m in height, with side conches, that is, the horseshoe shaped chapels in the thickness of the walls of rotunda, which are intended for special small altars and the confessional. Three conches are arranged on both north and south side, whereas opposite the entrance, in the apse, there is the main altar, that is, a deep presbytery, under which there is a crypt. The shape of rotunda is also emphasized by the specially positioned marble floor panels of different colours.
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The Romanesque entrance to the church is flanked by a pair of stone lions. The church is laid out on a typical early Christian basilica plan, with a narthex and atrium, a wide central nave and lateral aisles, transept and semi-circular apse with ambulatory. Alterations were made by the Lombards in the 10th century, and by the Normans between the 11th and 13th centuries. Two Corinthian columns stand in the nave. In the right aisle is the Hauteville Tomb (Italian: ), in which five members of the Norman Hauteville family are buried: Guglielmo Braccio di Ferro ("William Iron Arm", 1010–1046), his brothers Drogo (c.
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The plan features a wide chancel and aisled nave, both of which have prominent apses at the geographical north end, a gable-roofed entrance porch leading to a narthex with hipped roofs, a small belfry topped with a stone spirelet, and a vestry. Most of the windows are small lancets, such as the range of six above the entrance porch, but the five around the chancel apse are taller. The interior is simple and open, and reminded architectural historians Ian Nairn and Nikolaus Pevsner of Sir Christopher Wren's ecclesiastical works: they described it as "very intelligent, rational, [...] logical [and lacking] the artificial piety of the 1860s".
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The wall piers and the arches were often decorated with medallion-shaped bust images of saints. Magnificent examples of those can be observed in SS Peter and Paul Church in Tarnovo. Along with the traditional scenes such as "Christ's passions" and "Feast cycle" in the second layer; "Christ Pantokrator" in the dome and the Madonna with the infant Christ in the apse, there were also specific images and scenes. In the narthex of the SS. Forty Martyrs Church in Tarnovo there were frescoes of St Anna nursing the infant Mary and St Elisabeth nursing the infant John the Baptist, unfortunately the last one did not survive.
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There are competing theories for the origins of the term, none of which is definitive. The European tradition of giving money and other gifts to those in need, or in service positions, has been dated to the Middle Ages, but the exact origin is unknown. It is sometimes believed to be in reference to the Alms Box placed in the narthex of Christian churches to collect donations to the poor. The tradition may come from a custom in the late Roman/early Christian era wherein alms boxes placed in churches were used to collect special offerings tied to the Feast of Saint Stephen,Collins, 2003, p. 38.
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The narthex abuts the unfinished western facade facing Amsterdam Avenue; this facade is wide and consists of five architectural bays. The bays are separated by large arched buttresses with finials at their tops, and they contain niches for the possible future installation of statues. The western facade is divided into four vertical tiers. From bottom to top, they are the ground-level portals, on the first tier; the gallery level, on the second tier; the large rose window and several smaller grisaille and lancet windows, on the third tier; and the top of the south tower and the gable above the center bay, on the fourth tier.
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At Hagia Sophia, Istanbul, there is a central dome, the frame on one axis by two high semi-domes and on the other by low rectangular transept arms, the overall plan being square. This large church was to influence the building of many later churches, even into the 21st century. A square plan in which the nave, chancel and transept arms are of equal length forming a Greek cross, the crossing generally surmounted by a dome became the common form in the Eastern Orthodox Church, with many churches throughout Eastern Europe and Russia being built in this way. Churches of the Greek Cross form often have a narthex or vestibule which stretches across the front of the church.
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After the demolition of the Blacket Cathedral building and bell tower in 1970, the six Bathurst Cathedral Bells languished in the open on the grass behind the Bathurst Courthouse nearby. In 1988 they were rescued and, with the help of public subscription, sent to England for restoration by Whitechapel Bell Foundry and Eayre & Smith. They were returned to Bathurst in 1992 and have been held in storage by Dawsons Removals & Storage P/L at Lot 3 Littlebourne Street, Kelso, except for the one bell on display in the narthex or foyer of the cathedral. In 2000 a group of concerned citizens not associated with the parish came together to seek ways of reinstalling the silent cathedral bells.
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Bete Giyorgis from above, one of the rock-hewn churches of Lalibela, Ethiopia. Although having its roots in the traditions of Eastern Christianity - especially the Syrian church - as well as later being exposed to European influences - the traditional architectural style of Orthodox Tewahedo (Ethiopian Orthodox-Eritrean Orthodox) churches has followed a path all its own. The earliest known churches show the familiar basilican layout. For example, the church of Debre Damo is organized around a nave of four bays separated by re-used monolithic columns; at the western end is a low-roofed narthex, while on the eastern is the maqdas, or Holy of Holies, separated by the only arch in the building.
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A little to the east of the square is the Lombard Romanesque cathedral of Sant'Evasio, founded in 742, rebuilt in the early 12th century and consecrated on 7 January 1107 by Pope Paschal II. It occupies a site where once was a Roman temple dedicated to Jupiter. It underwent restoration in 1706 and again in the 19th century. The cathedral has an asymmetric façade, including a complex narthex with two galleries (matronaei) connected by a tribune and closed by round arches. The interior houses the relics of Saint Evasius and, near the presbytery, fragments 11th-century pavement mosaics with Biblical scenes (now remounted on the walls of the corridor from the apse to the sacristy).
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Suger began his rebuilding project at the western end of St Denis, demolishing the old Carolingian westwork, with its single, centrally located door. He extended the old nave westwards by an additional four bays and added a massive western narthex, incorporating a new façade and three chapels on the first floor level. This new façade, wide and deep, has three portals, the central one larger than those either side, reflecting the relative width of the central nave and lateral aisles. This tripartite arrangement was clearly influenced by the late 11th-century façades of the abbey churches of St Etienne and La Trinité, Caen, with which it also shared a three-storey elevation and flanking towers.
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Cochran's rectorship (1928–1943) is hung just above the lower set of windows. A pair of double red doors are located in the center of the tower, hung in 1952 as part of the church's centennial celebration. The central tower was not completed immediately after the laying of the cornerstone in 1852 but rather over the course of several years, only reaching the same height as the roof of the nave during the rectorship of George Carroll Harris (1859–1862). 1880 etching showing the originally planned spire The narthex of the church is located at the base of the tower, and there is a large bell tower chamfered into the southwest corner of the tower.
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There is also a set of mahogany doors and marble pilasters in the narthex that came from Charles M. Schwab's New York City mansion. The church's original stained glass windows were relocated to Plymouth Church of the Pilgrims when the two congregations merged. Swiss artist Jean Crotti created new windows for Our Lady of Lebanon using the Gemmaux method by which pieces of colored glass are held together by colorless enamel. The ten windows were created for the church in Crotti's workshop in France during 1953. Problems developed in the windows created by Crotti, and so in the late 1950s Lebanese artist Sabiha Douaihy made additional windows and worked on the existing windows for the church.
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Demus, Chapter 18 It has long been recognised that the compositions are very close to those of the Cotton Genesis, an important 4th- or 5th-century Greek luxury illuminated manuscript copy of the Book of Genesis, now in the British Library, though very badly damaged in a fire of 1731. About a hundred of the 359 miniatures in the manuscript are used. It is presumed that this reached Venice after the Fourth Crusade.Demus, 155–157 On the wall above and at the sides of the main doorway are the Four Evangelists and saints, 11th- century mosaics, the oldest in the building, that decorated the old facade to St Mark's even before the narthex was built.
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All Saints' interior After the fire, Charles II gave a thousand tons of timber for the rebuilding of All Hallows' Church, and one tenth of the money collected for the rebuilding of the town was allocated to the rebuilding of All Hallows', under the management of the King's Lynn architect, Henry Bell. Bell was resident in Northampton at the time, and he set to rebuild the church in a manner similar to Sir Christopher Wren's designs. The central medieval tower survived the fire, as did the crypt. The new church of All Saints' was built east of the tower in an almost square plan, with a chancel to the east and a north and south narthex flanking the tower.
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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).
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The church, dedicated to St. Demetrius of Solunsky, is a one-nave seven-domed structure with one main central dome and four smaller domes between the shoulders of the inscribed cross, with two more smaller domes above the proskomidia and deaconesses and a separate tower bell tower in the west. The apse of the altar space is semicircular both outside and inside. The nave is reduced by three semicircular arches, the narthex by two smaller domes with an octagonal vestibule above the chapels, and in the central part by a semi-arched vault, and the nave by a vaulted arch resting on the walls of the facade and two round arches. The Church of St. Dmitry has three doors.
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The pulpit is surmounted by a stone stair. The chapel is noted for its porch, which is covered by a sloping roof and surrounded by a wooden railing; the porch was once a closed narthex to the church. Chapels with a porch of this type in Bahia are only found in churches built in the 16th and 17th century; its design closely resembles that of Chapel of Our Lady of the Ladder (Capela de Nossa Senhora da Escada) in Salvador and the Chapel of Saint Joseph of Jenipapo (Capela de São José do Jenipapo) in Castro Alves. The church portal is accessed from the porch and has a low window on either side.
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The first phase of the templeBoon 1960, p141-146 (and all subsequent temples on the site) was orientated on an alignment 30 degrees east of north at the foot of the western side of a small shallow valley. The building measured 14.6m by 6.55 and is tentatively dated to the third century AD, a period when the fort was occupied by the Cohors I Sunicorum. The shrine consisted of an anteroom (narthex) at the southern end, followed by the temple proper which consisted of a sunken central nave flanked by low benches. This is typical of mithraic temples and enabled the temple to be clearly identified despite no sculptural or epigraphic evidence being found.
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Fiolitaki (2008) The walls were decorated with marble, the roof was gilded, while the narthex featured a depiction of the baptism of Constantine the Great. Fragments of ivory, amethyst, gold and colored glass, originally inlaid in the marble sculptures, have also been found at the site, as well as fragments of mosaics. The deliberate evocation of the Solomonic Temple was further reinforced by the preponderance of motifs such as palm trees, pomegranates and lilies in the church's decoration. A notable characteristic, which has not been attested before in Constantinopolitan art and architecture, is the extensive use of Sassanid Persian decorative motifs such as friezes of running palmette and pomegranate leaves or symmetric geometric and vegetal patterns.
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Topographic map of Mesogeia, Attica Laureotic Olympus (named for the region of Laurium, also Όλυμπος Αττικής "Attic Olympus", Σκόρδι) is a hill in Attica, just north of Anavyssos, in Saronikos municipality, East Attica, Greece. At a height of 487 m is one of the three major elevations of southern Attica, alongside mounts Panio and Merenda (Myrrhinous). Attic Olympus is the place of origin of the white marble used in the Temple of Poseidon at Sounion. It is also notable as the site of an early Christian basilica, known as the Basilica of Laureotic Olympos, established before AD 559, a three-aisled church with double narthex and baptistery, decorated with sculpted marble and a mosaic floor.
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By the early 20th century, a movement of population from the Wealdstone area had made the construction of a more lasting structure a necessity, which was designed by the architect William Pite, brother of Arthur Beresford Pite in the Gothic Revival style. The church was described as being constructed from yellow stock brick, with a dressing of stone and red brick. The church featured the customary main body of the nave and chancel, a transept on the south end of the building, and, in addition, a baptistery in the north west, a chapel in the north east, and a porch – the narthex. St James Church also had its own bell tower which was described as a ‘turret’.
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The only original Romanesque elements still visible are the two portico-ed wings in correspondence of the side aisles, which are the remains of a narthex or a quadruple, two-storey portico which used to be a recovery for pilgrims. The façade, in Lombard Gothic style, is hut-shaped, with ogival arches and portal decorated with cotto columns and vegetable motifs, as well as a rose window enclosed with a series of circular decorations. The cloister (likely built in the 14th century, and restored in the following one) includes a portico with rib vaults on all four sides. A series of pillars supports, in the upper floor, a loggia with small columns.
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These murals date to before 1205 and rank, due to the lavish use of lapis-lazuli to color their backgrounds, among the most beautiful paintings of that period. These murals were ordered by Anton Gnolistavisdze, a local feudal magnate who served as a royal minister. His fresco with a model of a church in his hand is represented on the lower register of the south wall, along with a severely damaged cycle of images from the life of St Nicholas, and depictions of various Georgian saints. The murals of the narthex are of a later date, and were painted by the order of a prominent person of the 15th century, Zaza Panaskerteli, whose portrait is represented here as well.
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Pórtico da Gloria The 12th-century Portico da Gloria, behind the western façade, is in the narthex of the west portal. It is a remain from the Romanesque period, a masterwork of Romanesque sculpture built between 1168 and 1188 by Master Mateo at the request of king Ferdinand II of León. The vigorous naturalism of the figures in this triple portal is an expression of an art form, varied in its details, workmanship and polychromy (of which faint traces of colour remain). The shafts, tympana and archivolts of the three doorways which open onto the nave and the two aisles are a mass of strong and vibrant sculpture representing the Last Judgment.
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View to the apse and iconostasis or screen decorated with icons that separates the nave from the sanctuary The Church of the Dormition was the central spiritual and monumental focus of the site. Carved similarly from the rock, its walls reinforced in stone, it measures by , rising to a height of . Both church and narthex are painted; these paintings are of "crucial significance in the development of the Medieval Georgian mural painting". Its patron, Rati Surameli, is commemorated in a donor portrait on the north wall; the accompanying inscription reads "Mother of God, accept ... the offering of your servant Rati, eristavi of Kartli, who has zealously decorated this holy church to your glory".
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The entry to the outdoor narthex of the Chapel is created with a tent-like flap extending over the entry, creating an enclosed space that is still outdoors. The architecture also shifts the focus the building: the entrances to the Chapel face away from the center of the building and towards the tabernacle to remind all who enter that the central point of the Chapel is not the altar or the crucifix, but the location of the Eucharist. During the 2005–2006 school year, the Gueymard Meditation Garden was built on the west side of the Chapel. The garden features three fountains, representing the persons of the Trinity, and benches for reflection.
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Maria Laach Abbey, the west end with the paradisium, a narthex enclosing a garden. Tomb of Henry of Laach at Maria Laach Abbey Maria Laach Abbey (in German: Abtei Maria Laach, in Latin: Abbatia Maria Lacensis or Abbatia Maria ad Lacum) is a Benedictine abbey situated on the southwestern shore of the Laacher See (Lake Laach), near Andernach, in the Eifel region of the Rhineland-Palatinate in Germany. It is a member of the Beuronese Congregation within the Benedictine Confederation. The abbey was built in the 11th-12th centuries and was originally known as "Abtei Laach" ("Abbatia Lacensis" or "Laach Abbey", meaning the "Lake Abbey") until 1862 when the Jesuits added the name "Maria".
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It will also enclose the Krušedolska Street, the tenants in it, and obstruct the view from the street's numerous cafés on the park which has a touristic value. There are calls for keeping the square-like shape of the present plateau or even expanding it as it basically functions as the extended, open-air narthex of the church and should have room for as many visitors as possible as the 1990 design only addressed local residents' needs, neglecting the area's spiritual and religious character. There were repeated calls for either an international or a domestic public design competition, instead of the clandestine process by which the church itself selected the design of public space.
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At the time of its construction the church was located in the middle of a city block, surrounded by the institutions of the Serbian Orthodox community. The dense urban grain of the neighbourhood was gradually broken up during the 19th century and finally the area was totally demolished in the 1930s creating a wholly new spatial situation where the church became a solitary building in a park. The nave of the cathedral was three bays long, covered with Baroque Bohemian vaults, with a shallow apse in the east and a vaulted narthex on the west. The double transverse arches sprung from pairs of Corinthian half pillars with elaborate capitals decorated with festoons.
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At certain services, particularly at Theophany, a special holy water, known as Theophany water is consecrated and partaken of during the service by each member of the congregation in turn. Theophany water is blessed twice: on the eve of the feast it is blessed in the narthex of the church (the place where baptisms take place), and then the next morning, on the day of the feast, after Divine Liturgy, an outside body of water is blessed, demonstrating the sanctification of all creation which in Orthodox theology was accomplished by Christ's Incarnation, Death and Resurrection. Later, the priest visits the homes of all of the faithful, and blesses their homes with this Theophany water.
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With the exception of the Trompette-en-Chamade, located under the Rose Window above the narthex, the entire instrument of the Great Organ is located in the church's chancel. The now-dismantled Great Organ featured an Electro-pneumatic and electric-slider stop and chest action, a Solid-State combination action, 4 manuals, 158 ranks and 9,050 pipes.Aeolian-Skinner Archives: Opus 205-A , from the Aeolian-Skinner Organ Company website, from the shop notes and specifications of Allen Kinzey (no further authorship information available), accessed December 17, 2006. The Loening-Hancock Gallery Organ was built as "Opus 27" of Taylor & Boody Organbuilders of Staunton, Virginia, in 1996 to honor Gerre Hancock for 25 years of service to Saint Thomas Church.
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The current church building, which dominates Burton's market square, was begun in 1719, first used for services in 1723, and finally completed by 1728. It is built in red sandstone and comprises an aisled five- bay nave with galleries on the north, west, and south, an apse, and a western narthex with central tower, north and south gallery stairs, and internal porch. Designed in a Classical style by the brothers Richard and William Smith of Tettenhall, it is similar to St Alkmund's Church at Whitchurch, Shropshire, built by William to the designs of John Barker. William died in 1724 and Richard in 1726, and the church was completed by their younger brother Francis Smith of Warwick.
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Its plan is reminiscent of a trefoil, a rotunda with a prominent east apse and two side wings placed symmetrically in relation to the main entrance. A narrow narthex and the side wings are covered with hip roofs above which rises a larger-sized drum supporting a dome. The lantern mounted on top of the dome originally was surmounted by the cross, a symbol of Christ’s passion. The facades feature a reduced number of symmetrically arranged openings. The compact design, important attribute of the architectural school of Hugo Ehrlich and Viktor Kovačić, has townscape value that stems from the building’s successful positioning in relation to a crossroad on the approach to the Historic Core of Zemun.
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The cathedral was built between 1837 and 1840. The gold-plated carved iconostasis was made by the sculptor Dimitrije Petrović, while the icons on the iconostasis, thrones, choirs and pulpits, as well as those on the walls and arches were painted by Dimitrije Avramović, one of the most distinguished Serbian painters of the 19th century. The Cathedral church was one of the biggest religious buildings in Serbia, and after the Church of Peter and Paul in Topčider (1832–1834), the oldest in Belgrade. The Church has a single nave construction with semi-circular apse on the East side and narthex on the West side above which the high bell tower is rising.
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View of the interior along the nave towards the high altar View of the interior with the organ in the back and the tomb of Rudolf of Rheinfelden in front Eastern towers, northern façade and part of the Schloss (on the left) Around the middle of the 12th century the western towers were rebuilt, with late Romanesque octagonal upper levels put on top of the lower quadratic structures. The earlier quarry stone masonry was replaced by worked stones. The shape of the windows was later changed to Gothic style, probably in the second quarter of the 13th century when a new porch (or narthex) was added to the church. This was built circa 1230.
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The present facilities of the monastery, a monument of culture of national importance, were mostly constructed in 1850–1853 by Lilo (Ilia) Lazarov, a Bulgarian architect from Slavine. The current yard gate, stone fence and north and south residential wing were all built in 1850–1853. Some finishing touches were being applied to the church up until 1856, when the pavilion drinking fountain was built as well, and the ossuary was added in 1860. Frontal view of the external narthex and an elaborately decorated door The monastery cathedral, the Church of Saint John the Baptist, is regarded as the finest and most complex example of church architecture of the Slavine Architectural School established by Lazarov.
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Inside, it bulges outward, while the outside bulges inwards, so that the Carolingian west wall can be seen as a convex-concave bulge. Before the construction of the porch in the 18th century, the Carolingian west facade, when seen from the Narthex, was particularly evocative: a large niche, topped by a semicircular arch in the western upper level corresponded to the semicircle of the barrel vault of the lower level. Today, the western wall is broken up by the large western window. The large window frame dates from the Gothic period and replaced a smaller window from Carolingian times, which was probably structured as a mullion (a double arch with a column in the centre).
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The architecture of the Saint George Pillars Monastery is very characteristic representing unique synthesis of two medieval construction concepts, Byzantine in the East and Roman in the West. Monastery is a building with a set of architectural and construction innovation in that period, among which there are two remarkable towers, lateral vestibules, cupola with elliptic basis, irregular shape of altar area, as well as specific arrangement of the central dome space of the church. Single-aisle temple with the altar consisting of three apses, naos and narthex, in its external appearance reflects the spirit of Roman construction. The combination of Byzantine spatial arrangement and Roman architecture resulted in original symbiosis that has been the ground for special architectural style.
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The church is composed of the altar, the narthex and the naos. The floor has a circular figure of the sun, which is of interest as the cult of the sun is pre-Christian. According to local legends, three knights were going, through Via Egnatia, from Rome to Jerusalem to liberate the city, as well as the Tomb of Jesus in a crusade. After spending the night in Çetë, the next morning they told one another that they had all dreamt the same dream: Saints had told them to stop in Çetë and build a church there, as it would have been good for the people, and so they built it, before going to Jerusalem.
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At the beginning of the 12th century the narthex covered by a calotte and two traverse arches was added. This addition of a steep-pitched roof gave Agios Nikolaos the nickname 'of the Roof' ('tis Stegis'). Author A. H. S. Megaw comments on the addition of the later roof, "This later roof conceals a perfectly normal church of the Byzantine inscribed-cross type, complete with a dome...These step-pitched roofs would then represent the indigenous "provincial," architecture of this area of Cyprus, which was temporarily supplanted by alien Byzantine domes" (Megaw 81 & 88). At a later stage the church's original appearance was altered resulting in the destruction of some interior paintings.
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On 12 July 2011 the Holy Liturgy dedicated to the feast of the patrons took place in the narthex of the Garrison Church of the Holy Apostles Peter and Paul. On this solemn day the Divine Liturgy was celebrated by the main military chaplain of the Lviv Archeparchy, the dean of the church priest Stepan Sus in concelebration with father doctor Borys Gudziak and fathers chaplains. The youth choir from the church of All Saints of the Ukrainian People (Lviv) led the singing. The Divine Liturgy was also attended by the representatives of the local authorities, in particular, by Andriy Sadovyi, the Mayor of Lviv, and a great number of faithful and guests of the city.
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Zoodochos Pigi Church The Church of Zoodochos Pigi (, "Life-giving Spring") is a Byzantine-era church in the village of Pyli, Boeotia (formerly known as Dervenosalesi), originally part of a monastery. Located some 5 km west of the village, the modern church was originally the narthex or lite of the katholikon church of a monastery. The monastery is otherwise unidentified and is not mentioned in any source or inscription, but the name "Monastery of Sterna" may be applicable to it. On the other hand, it is possible that this monastery is the same as the Monastery to the Theometor mentioned in the hagiography of Meletius the Younger, in which case it dates to the end of the 11th century.
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The Cathedral Organ was built originally in 1910 by Casavant of St Hyacinthe, Québec, and rebuilt by the British firm of Hill Norman and Beard in 1961. In 2011, the original console was upgraded by Casavant and now includes 250 memories for its pistons, is MIDI capable, and can record performances to play later. Another advantage of the new console is that it is moveable so it can rest in its original intended location during services but be optimally re- positioned as required during choral concerts and organ recitals and performances. Also, during this recent upgrade the console was prepared with some additional stops as well as an antiphonal section for eventual installation in the Cathedral Narthex.
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Historically a centre of Thracian folklore and artisans, there are many unexcavated sites close by, though there is no mapping of the numerous trails and watercourses, partly because of it being in a sensitive border area with Turkey. Older forms of the name are attested as Beradiu, Brodivo, Pordrikoz; it was first mentioned in 1498 with relation to salt trade, and had Christian 34 households at the time. Until 12 July 1914 the village was inhabited by Greek nestinari, but following the Second Balkan War these moved out to be replaced by Bulgarian refugees from Eastern Thrace. The village's Eastern Orthodox Church of Saint Pantaleon was built in 1910 and features an external narthex; the iconostasis was manufactured and carved by a local carver called Giannis.
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In the narthex there is the Crucifixion, the Pantokrator and the Anastasis above the doors, while in the church the Theotokos (apse), Pentecost, scenes from Christ's life and ermit St Loukas (all executed before 1048). The scenes are treated with a minimum of detail and the panels are dominated with the gold setting. Detail of mosaic from Nea Moni Monastery The Nea Moni Monastery on Chios was established by Constantine Monomachos in 1043–1056. The exceptional mosaic decoration of the dome showing probably the nine orders of the angels was destroyed in 1822 but other panels survived (Theotokos with raised hands, four evangelists with seraphim, scenes from Christ's life and an interesting Anastasis where King Salomon bears resemblance to Constantine Monomachos).
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Floors and walls were richly decorated with mosaic and inlay – usually in abstract or floral patterns. The two original double basilicas at Aquileia had both been about 37m by 17m in size, but within 30 years one hall was quadrupled to 73m by 31m. This expanded basilica now demonstrated three additional features that became characteristic of early cathedrals: an enclosure at the eastern end of the church surrounding the altar; a ' east of the altar facing west, and consisting of a raised dais with a centrally place bishop's throne and benches either side for the clergy of his familia; and a partitioned-off narthex at the western end into which catechumens would withdraw during the central act of the Eucharistic liturgy.
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One of the Hutton glass angels; the dossal is visible through the glass The cathedral's nave contains many stained-glass windows by church artist Brian Thomas, who had previously designed windows in Westminster Abbey and St Paul's Cathedral, London. Thomas took as his theme words of St Paul at the Areopagus: “The Unknown God: Him I now proclaim”. The windows were created by Whitefriars of London and depict figures and scenes such as the conversion of St Paul; Jacob, the patriarch who wrestled with an angel; Moses, the law giver; David the hero King; the nativity of Jesus; and Christ's crucifixion and the resurrection. The narthex (lobby) is separated from the rest of the nave by a wall consisting of glass panels depicting figures representing angels.
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The design of Etchmiadzin Cathedral—classified as "a four-apsed square with ciborium," and called Ejmiatsnatip "Etchmiadzin-type" in Armenian architectural historiography—was not common in Armenia in the early medieval period. The now-destroyed St. Theodore Church of Bagaran, dating from 624 to 631, was the only known church with a significantly similar plan and structure from that period. In the 19th century, during an architectural revival that looked back to Armenia's past, the plan of Etchmiadzin Cathedral began to be directly copied in new Armenian churches. Some notable examples from this period include the narthex of the St. Thaddeus Monastery in northern Iran, dating from 1811 or 1819 through 1830, and the Ghazanchetsots Cathedral in Shusha, dating from 1868.
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The last major rebuilding was in 1898–1901 by Arthur Blomfield when the whole church, other than part of the chancel and the Legh and Savage chapels, were replaced. A further reordering, known as "Open Door" Phase 1, took place between June 2003 and May 2004 to provide a welcome area (narthex), meeting rooms and an office at the west end. A second phase followed in which the room to the southeast of the building was equipped as a Youth Centre. As part of the "Open Door Reordering", extensive repair work was carried out to the church roof and to the church organ which was completely dismantled, cleaned, repaired and re- built.. The architectural works were carried out by Barlow, Wright and Phelps, of Buxton, Derbyshire.
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The church was opened in 1905, designed by the architects Naylor and Sale of Derby. > All Saints' church (...) is executed in an Arts and Crafts Gothic style and > has a grey, rock-faced exterior of Coxbench and Weldon stone and an interior > of buff sandstone with pink Hollington stone dressings. It consists of a > chancel with clergy and choir vestries to the north and organ chamber to the > south, a nave with north and south aisles, a north-western tower above a > porch, and a second, south-west porch linked by a narthex with a baptistry > apse. (fn. 19) The nave, aisles, chancel, and chancel arch are very wide, > and the five-bay arcades have octagonal piers and moulded capitals.
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Poster from the 1930s advertising services The sanctuary Erection and consecration plaque near main entrance Barnwell memorial window, Psalm 122:1, between the expanded nave and the new narthex New Celeste Erben Alvarez window depicting Our Lady of Walsingham All Saints' Episcopal Church, Waveland, is an historic Carpenter Gothic church built in 1898 on Crossroads Hill in Waveland, now part of Jensen Beach, Florida It is the oldest church building located in what is now Martin County, Florida. It is also the northernmost parish in the present-day Episcopal Diocese of Southeast Florida. When the church was built the land it is on was in Brevard County. From 1910-25, it was in St. Lucie County. Since 1925 it has been in Martin County.
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In the narthex a small display case contains items of significance from the church's history: the first communicants' tablet, and a letter from George Washington thanking the congregation for its hospitality to him on a 1782 visit (This is reportedly his only writing during the entire eight years of the Revolutionary War that mentions any religious institution.) Across from the main entrance three round-arched doors corresponding to those on the outside lead into the main sanctuary. 1907 postcard of interior The sanctuary itself is painted off- white, with the stained glass windows, red carpeting, gilding and mahogany trim of the pews providing a contrast. Corinthian columns, creating lateral arcades, provide corbeled support to groin vaults. The arcading partially encloses the balcony.
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Aula Palatina, Constantine's basilica at Trier, c. 310 In the early 4th century Eusebius used the word basilica () to refer to Christian churches; in subsequent centuries as before, the word basilica referred in Greek to the civic, non-ecclesiastical buildings, and only in rare exceptions to churches. Churches were nonetheless basilican in form, with an apse or tribunal at the end of a nave with two or more aisles typical. A narthex (sometimes with an exonarthex) or vestibule could be added to the entrance, together with an atrium, and the interior might have transepts, a pastophorion, and galleries, but the basic scheme with clerestory windows and a wooden truss roof remained the most typical church type until the 6th century.
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Roob) According to excavator F. Vitto, the village synagogue underwent three phases of construction and reconstruction: first built as a basilical hall in the 4th century CE, it was destroyed by a fire and rebuilt in the following century, with the addition of a bemah, of a new mosaic floor and a plaster coating for the walls and pillars, decorated with several inscriptions; and the last phase, dating to the 6th or 7th century CE, when the narthex was added on whose floor the halakhic inscription was laid. Others put the creation of the halakhic inscription in the late 3rd century CE at the earliest.Feliks, Yehuda (1986), pp. 454–455 The synagogue was probably abandoned after being destroyed in an earthquake.
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Measuring forty-four meters in length by twenty-three meters in width, the church does not have a west narthex like the Church of Shenute, but all other elements are identical. The nave has small side aisles connected on the west, and there are upper galleries, a triconch apses and a large rectangular room on the south side of the edifice. There are elements within this church, however, that distinguish it from the Church of St. Shenute in the White Monastery. In the White Monastery, considerable building material was robbed from edifices dating to the pharaonic or Roman period, while in the Red Monastery church of St. Pshoi, the portals and columns (bases, shafts and capitals) were made for this building.
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Facade of the abbey church Cappella Farnese The has several courts, which lead to the famous portico designed by Antonio da Sangallo the Younger, with an arcade of nine bays supported by slender columns with Renaissance capitals. Of the abbey church consecrated by John XIX in 1024, little can be seen in the interior except the mosaics in the narthex and over the triumphal arch, the medieval structures having been covered or destroyed during the "restorations" of various abbots in commendam. Some fragmentary thirteenth- century frescoes were revealed in a partial restoration of the church in 1904 to commemorate its novecentennial, when it was made a Roman basilica. The mosaics portray the Twelve Apostles sitting beside an empty throne, evoking Christ's ascent to Heaven.
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These include the Lincoln Home National Historic Site, a National Historical Park that includes the preserved surrounding neighborhood; the Lincoln-Herndon Law Offices State Historic Site, the Lincoln Tomb State Historic Site, the Old State Capitol State Historic Site, the Lincoln Depot, from which Abraham Lincoln departed Springfield to be inaugurated in Washington, D.C.; the Elijah Iles House, Edwards Place and the Abraham Lincoln Presidential Library and Museum. The church that the Lincoln family belonged to, First Presbyterian Church, still has the original Lincoln family pew on display in its narthex. Near the village of Petersburg, is New Salem State Park, a restored hamlet of log cabins. This is a reconstruction of the town where Lincoln lived as a young man.
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In the Roman Catholic Church, as well as among many Anglican and Lutheran congregations, palm fronds (or in colder climates some kind of substitutes) are blessed with an aspergillum outside the church building in an event called the "blessing of palms" if using palm leaves (or in cold climates in the narthex when Easter falls early in the year). A solemn procession also takes place, and often includes the entire congregation. In the Catholic Church and the Episcopal Church, this feast now coincides with that of Passion Sunday, which is the focus of the Mass which follows the palms ceremony. The palms are saved in many churches to be burned on Shrove Tuesday the following year to make ashes used in Ash Wednesday liturgies.
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Brochure of the Riverside Shakespeare Company, 1982, page 8-9. The two towers of the church were converted by the theatre company into storage facilities for sets and costumes, with hoists and pulleys to raise and lower scenic components to the second balcony level, where the theatre had been built. In the north tower was constructed a costume shop, where often a dozen seamstresses worked on numerous costumes designed by a Broadway designer for a major Shakespeare production -to be presented either in the theatre or on tour during the summer. The main entrance for audiences into the theatre was beneath the south tower on West 86th Street, and into the narthex or main lobby of the church, then up the stairs to the balcony theatre above.
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Map of the monastery complex Maulbronn was constructed in a Romanesque style, then native to Swabia. Motifs of the "Hirsau style" are uniform pillars and the rectangular frames around the Romanesque arches. Near the end of the 12th century the architecture of the Cistercians became influenced by Gothic architecture, which required less stone than the Romanesque style, and the order began disseminating it from northeastern France. An anonymous architect trained in Paris erected the first example of Gothic architecture in Germany at Maulbronn's narthex, the southern portion of its cloister, and the monks' refectory. The Late Gothic came to Maulbronn from the late 13th century to the mid-14th century, and again in the German Romantic era of the late 19th century.
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Fragments have survived to the present day on the east wall of the passage beneath the tower (composition of King Stefan and his son Radoslav), in the narthex, nave and side-chapels. During the Uprising in Serbia in 1941, the first skirmishes within the Siege of Kraljevo began in the early afternoon on 9 October 1941 near Monastery of Žiča when the Chetnik unit commanded by Milutin Janković attacked German unit which retreated to Kraljevo after a whole day battle in which Germans used canons to shell the monastery. On 10 October German air forces bombarded the Monastery of Žiča using five airplanes and significantly damaged its church. The battle near monastery lasted until early morning of 11 October when Germans broke the rebel lines and put the monastery to fire.
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In memory of Emperor Dusan's visit, the Hilandar monks erected big cross and planted the "imperial olive tree" on the spot where they welcomed him. Serbian Emperor also built the Church of St. Archangels and expanded the monastery's hospital around 1350, while Empress Jelena endowed the Karyes monastic cell dedicated to St. Sava which belongs to Hilandar. Both Hilandar and Mount Athos already enjoyed tremendous reverence in Serbia as the monastery's deputy hegumen Sava became Serbian Patriarch Sava IV. Following Emperor Dusan's death in 1355, the monastery prospered even further. In addition to Dusan's son Serbian Emperor Uros V, powerful noblemen also supported Hilandar, such as Prince Lazar Hrebeljanovic who constructed the narthex along the west side of the main Entry of the Lady Theotokos into the Temple Church in 1380.
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Plan of the church as it appeared in the mid-12th century The abbey church, now dedicated to Saint Denis, was built according to a roughly symmetrical cruciform plan that has generally remained unchanged, except for the addition of the Early Gothic chapel. The church stands on a northeast-southwest orientation, irregular for a church. Its layout consists of a one-bay narthex at the base, a three-bay nave with two aisles in the middle, a single-bay transept with attached bays flanking the choir that were the bases to a pair of rectangular towers, one bay long and connected to a semicircular apse of the same length, and an ambulatory four bays long. There is an imbalance in the nave's aisles, though they are of the same length.
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Another hallmark of Shrovetide is the opportunity for a last round of merrymaking associated with Carnival before the start of the somber Lenten season. On the final day of the season, Shrove Tuesday, many traditional Christians, such as Anglicans, Lutherans, Methodists and Roman Catholics, "make a special point of self-examination, of considering what wrongs they need to repent, and what amendments of life or areas of spiritual growth they especially need to ask God's help in dealing with." During Shrovetide, many churches place a basket in the narthex to collect the previous year's Holy Week palm branches that were blessed and distributed during the Palm Sunday liturgies; on Shrove Tuesday, churches burn these palms to make the ashes used during the services held on the very next day, Ash Wednesday.
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That original basilica was likely built between 330–333, being already mentioned in 333, and was dedicated on 31 May 339. It was destroyed by fire during the Samaritan revolts of the sixth century, possibly in 529, and a new basilica was built a number of years later by Byzantine Emperor Justinian (r. 527–565), who added a porch or narthex, and replaced the octagonal sanctuary with a cruciform transept complete with three apses, but largely preserved the original character of the building, with an atrium and a basilica consisting of a nave with four side aisles. The Church of the Nativity, while remaining basically unchanged since the Justinianic reconstruction, has seen numerous repairs and additions, especially from the Crusader period, such as two bell towers (now gone), wall mosaics and paintings (partially preserved).
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Portrait art is highlighted by Serbian saints: Athonite Fathers Saints Simeon and Sava (1200, 1235), father and son, former rulers of Serbia, Stefan Dušan (1308-1355), Holy Martyrs Chiric (aged 3 years) and his mother Iulita, painted at the request of Archimandrite Vasile and Milco. Topics as St. Sava and Simeon, St. Nicodim, are inspired from the painting found in Hilandar Monastery, also revealing external influences on the traditional painting techniques. The portrait of the great Serbian ruler Stefan Dušan (1331-1355) which is in the narthex, similar to the one found at the Hilandar Monastery, seems to be the only one in the country. By the artistic way of doing the portrait, the entire worship of the founders towards the national hero of their country of origin is expressed.
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Donor's inscription in the church of St. Petka in Staničenje According to the luxury clothing, jewellery, and wealth of figures painted on the walls, the village of Staničenje stands out from the monuments of that time. A well-organized group of painters carried out whole gallery of portraits on the western part of the nave, composed of ten figures. Several portraits were painted in the narthex but over the time only the fresco fragments remains which were stored in the Gallery of Frescoes in Belgrade. Shown costumes on noblemen figures, aristocrats, monks and nuns of different ages are important source of material for understanding the aristocratic and royal costumes of that period. The founder’s inscription was written on the inner west wall, above the entrance to the church, covering the entire width of the lintel.
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The façade concealing a narthex that runs the full width of the structure is precisely as wide as its height from the entrance level to the apex of the pediment; it may be fitted with the perfect geometry of the square. The temple front has been converted by Alberti into wall-architecture, as Wittkower noted, and a complete series of pilasters, like pillars embedded in the wall, has been elided to the two outermost, and the two flanking Pellegrino Ardizoni's clumsy doorway,"Ardizoni finished the church to the best of his poor ability... Careless and without imagination, he here copied exactly the frame of the central door which leads from the vestibule into the church" (Wittkower, 1965:50f). which overlaps them and ill suits its space. Inside view.
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The chapel is composed of two spaces essentially: a large rectangular narthex, open to the exterior through a triple arcade of columns and two Corinthian capitals (dated to the 3rd-4th century); and a rectangular space with cupola, atypical of other regional religious temples. The articulated volumes includes horizontal spaces with tiled roof over the main annex, while the aba extending to the sacristy and pyramidal spire over the main chapel. The main façade of the chapel (oriented towards the west), includes two spaces that correspond to the galilé and sacristy (which is slightly recessed). The body of the galilé is marked by three arches over two columns of shafts, consisting of a concave base and plinth, with the northern relief consisting of scrolls and palmettes with stylized triangles.
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In 1930 these were replaced by another new set as a memorial to Charles George Renouf, a Jurat of the Royal Court (the stalls they replaced were given to St Andrew's Church). At the same time the level of the Chancel floor was raised. The South Chapel was re-ordered in 1952 as a memorial to Matthew le Marinel, Rector of St Helier and Dean of Jersey during the German Occupation (1940–45), and again in 2004 to make it more ‘user-friendly’. In 1997 a glass screen was erected to separate the nave extension from the rest of the church to create a narthex (reception area), new glass doors were installed at the west end and the font was moved from the west end to its original position by the North Door.
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Additions and changes to the church building have taken place over the years: in 1882 the building was enlarged and remodeled from Greek Revival to Gothic Revival style, and the bell tower was added. An organ was installed in 1830 when the building was finished, but in 1941 the console was moved from the south to the north side of the chancel. The parish hall and rectory were begun in 1906, but in 1952 the old rectory was torn down and ground was broken for the chapel and education building. In 1984 a narthex was added on the west end of the nave to protect the church from street noise, and at the same time, a cloistered walk was built from the education building and the bell tower.
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After the completion of Trinity Cathedral in 1561 the processions terminated at its western sanctuary dedicated to the Entry into Jerusalem; the cathedral itself became known as Jerusalem (the current popular name of Saint Basil's Cathedral emerged only in the 18th century). Western visitors left descriptions of the procession as it existed before the Time of Troubles: Mikhail Kudryavtsev noted that all cross processions of the period began, as described by Petreius, from the Dormition Cathedral, passed through St. Frol's (Saviour's) Gate and ended at Trinity Cathedral, popularly known simply as Jerusalem.Kudryavtsev, p. 85 For these processions the Kremlin itself became an open-air temple, properly oriented from its "narthex" (Cathedral Square) in the west, through the "royal doors" (Saviour's Gate), to "sanctuary" (Trinity Cathedral) in the east.
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Antioch of Pisidia St. Paul's Antioch of Pisidia Fountain at St. Paul's Antioch in Pisidia St. Paul's from theatre One of the most important building complexes of Antioch is the Great Basilica in the northwest of the city, close to the outer walls. Arundell first identified the building as a basilica and the plan published by him became a guide for subsequent researchers. The Basilica was excavated first in 1924 by the Michigan team and it was then buried again for 80 years until the outside of the building was cleared by Taşlıalan who has most recently made a sondage in the apse. The building lies in the east-west direction and is 70 by 27 m The narthex which is 27 by 13 m bears against the defence walls.
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Then the grave of Dušan Serbian and Greek priests performed a joint service and remove the Anathema from the Dušan, and the monastery dwelt at one time and Serbian Patriarch Ephraim (1375–1380, 1389–1392). In one Chronicle were mentioned fields from other quarters 15th century and, according to the monastery's church there under the sunstraight to her artistic process and the beauty beyond Church of Christ Pantocrator in Dečani, and especially emphasizes it is covered under the mosaics the highest reach of the Serbian medieval architecture in this field. The same record states that are then discussed to no longer anywhere to be found Pathos of Prizren, Dečani church, Peć narthex, Banjska gold and Resava writings, which are symbolically represented the most significant limits of the Serbian state at the time.
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Tel Rehov ancient synagogue: marble screen with menorah relief Remains of a mainly Byzantine-period synagogue built in three successive phases between the fourth and the seventh century CE were found at the site of Tulul Farwana ("mounds of Farwana"), now part of the agricultural lands of Kibbutz Ein HaNetziv. Among the remains of the synagogue archaeologists found a relatively well-preserved mosaic pavement, the narthex part of which includes a very long sixth-century inscription in Aramaic; the so-called Mosaic of Rehob, Tel Rehov inscription or Baraita of the Boundaries ains details of Jewish religious laws concerning "the Borders of the Land of Israel" (Baraitha di-Tehumin), tithes and the Sabbatical Year.The permitted villages of Sebaste in the Rehov MosaicJewish legal inscription from a synagogue, Israel Museum, Jerusalem. Accessed 15 July 2019.
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Lower Kingswood Church of Jesus Christ and the Wisdom of God Interior showing chancel section of above church Sidney Barnsley rebuilt the Church of Jesus Christ and the Wisdom of God at Lower Kingswood, Surrey, in 1891 in the free Byzantine style. He used red brick and stone in various patterns, e.g. chequer work, herringbone and basketweave, and a plain tile roof. He installed a single unit aisled nave and chancel; an east end with polygonal apses, the outer ones as angled bay windows; imposing west front; a large planked and studded door with scalloped metal framing under round arch with inscription; a stone dressed diocletian window above the narthex under a pent roof; and round headed lancet windows on other façades and in the apses of the east end.
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Externally, three-church basilicas look like a conventional three-aisled basilica, presenting a similar outline, with the high central section covered by a gable roof and the lower side sections, each covered by a mono-pitched roof. However, unlike a conventional three-aisled basilica—terminating in a sanctuary on the east and possessing north and south aisles—a three-church basilica was designed so that there was either no direct communication between the central nave and the side aisles except through a narthex at the west end or, alternatively, they were only accessed through one door from the central nave into the auxiliary space formed by the aisles. The aisles were commonly semi-open due to the central sections of the north and south exterior walls being replaced by an arched arcade.
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The long barrel vault of the nave provides an excellent surface for fresco, and is decorated with scenes of the Old Testament, showing the Creation, the Fall of Man and other stories including a lively depiction of Noah's Ark complete with a fearsome figurehead and numerous windows through which can be seen Noah and his family on the upper deck, birds on the middle deck, while on the lower are the pairs of animals. Another scene shows with great vigour the swamping of Pharaoh's army by the Red Sea. The scheme extends to other parts of the church, with the martyrdom of the local saints shown in the crypt, and Apocalypse in the narthex and Christ in Majesty. The range of colours employed is limited to light blue-green, yellow ochre, reddish brown and black.
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In America leading Broadway theater directors noticed him immediately and he worked in some sets for productions. Mostly he worked though with mural paintings for private commission in New York. Known decorations made by him are among others the American Swedish Historical Museum and the John Ericsson Room in the John Morton Memorial Building in Philadelphia,"Day 265 - American Swedish Historical Museum" Nordic Way (retrieved 2012-03-31) narthex ceiling of the First Swedish Baptist Church of New York"Day 231 - The Swedish Church" Nordic Way (retrieved 2012-03-31) and the Swedish Room at the University of Pittsburgh. Nordmark also participated in several exhibitions, including one at the Brooklyn Museum in the year 1932Press release Brooklyn Museum, 1932-04-03 and another at the Delphic Studios in New York.
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There is a small domed bell tower with a lead roof and clock faces, containing a bell cast in 1930 as a replacement for an early 19th-century predecessor (this bore an inscription dated 1811). In its present form, the interior consists of a gallery at the west end, nave, transepts on two sides, a chancel, a side chapel in the southeast corner and a vestry in the northeast, with Italianate top-lighting and domes. The narthex, from where a stone staircase leads up to the gallery, is also top-lit, and now contains most of the church's memorial stones; these were moved there from the body of the church after it was declared redundant. Five, including memorials commemorating Lord Charles Somerset and Sir George Dallas, 1st Baronet, remain in the nave, however.
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The triodion created during the reform of Theodore was also soon translated into Slavonic, which required also the adaption of melodic models to the prosody of the language. Later, after the Patriarchate and Court had returned to Constantinople in 1261, the former cathedral rite was not continued, but replaced by a mixed rite, which used the Byzantine Round notation to integrate the former notations of the former chant books (Papadike). This notation had developed within the book sticherarion created by the Stoudios Monastery, but it was used for the books of the cathedral rites written in a period after the fourth crusade, when the cathedral rite was already abandoned at Constantinople. It is being discussed that in the Narthex of the Hagia Sophia an organ was placed for use in processions of the Emperor's entourage.
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Throughout the centuries, there have been many springs of water that have been believed by members of the Orthodox Church to be miraculous. Some still flow to this day, such as the one at Pochaev Lavra in Ukraine, and the Life-Giving Spring of the Theotokos in Constantinople (commemorated annually with the blessing of holy water on Bright Friday). Although Eastern Orthodox do not normally bless themselves with holy water upon entering a church like Catholics do, a quantity of holy water is typically kept in a font placed in the narthex (entrance) of the church, where it is available for anyone who would like to take some of it home with them. It is customary for Orthodox to drink holy water, to use it in their cooking and to sprinkle their houses with it.
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The interior of the church Christ in the dome mosaic Arabic Inscription in Martorana Church, Palermo, Italy The original church was built in the form of a compact cross-in-square ("Greek cross plan"), a common variation on the standard middle Byzantine church type. The three apses in the east adjoin directly on the naos, instead of being separated by an additional bay, as was usual in contemporary Byzantine architecture in the Balkans and Asia Minor.Kitzinger, Mosaics, 29-30. In the first century of its existence the church was expanded in three distinct phases; first through the addition of a narthex to house the tombs of George of Antioch and his wife; next through the addition of a forehall; and finally through the construction of a centrally- aligned campanile at the west.
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At the west end of the nave are two projecting towers, with a narthex (entrance) between them. A large open atrium, which once existed at the west, is now completely destroyed, having been replaced by a Renaissance portico by Giovanni Domenico and Fazio Gagini (1547–1569). The main internal features are the vast (6,500 m2) glass mosaics, executed in Byzantine style between the late 12th and the mid-13th centuries by both local and Venetians masters. The tomb of William I of Sicily (the founder's father), a porphyry sarcophagus contemporary with the church, under a marble pillared canopy, and the founder William II's tomb, erected in 1575, were both shattered by a fire, which in 1811 broke out in the choir, injuring some of the mosaics and destroying all the fine walnut choir-fittings, the organs and most of the choir roof.
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Thereafter, the monastery library and whole church interior were reconstructed, and the sponsor of this work, Thracian guild from Pirot, donated an icon of St. Spyridon in 1820.Icon with size 57х70cm with inscription: „Pomeni g(ospo)di esnav trački 1820“, Language: Serbian, now in monastery archives In 1873, the narthex was demolished, and in 1876–77 the monastery quarters were burnt with the fire reaching the library and destroying two parchment manuscripts.F Kanic, Srbija II, Language: Serbian, Belgrade, 1985, page 225; Ž. Jocić, Biblioteke Divljanskog manastira, Language: Serbian, Pirotski zbornik no.27-28, Pirot, 2002, page 189,197. After the liberation from the Turks in 1878, it was decided a new church should be built with construction beginning in 1902 and ending in 1908. In 1902, the nave was demolished and after that the church was completed as it stands today.
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Truett Seminary Narthex On July 24, 1990, the Baylor University Board of Trustees officially reserved with the Secretary of State of Texas the name “George W. Truett Theological Seminary,” in the event the board decided sometime in the future to create a seminary. On March 2, 1991, the George W. Truett Theological Seminary was chartered and a fifteen-member Board of Trustees was named by the University’s Board of Regents to investigate the feasibility of operating a seminary. (On September 21, 1990, the University Trustees had changed Baylor’s charter in order to have greater freedom in the selection of the University’s governing board. By this action the University Trustees became Regents.) An organizational meeting of Seminary Trustees was held on July 18, 1991, at which time officers were elected and a statement of purpose was developed.
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In 1701, a large portico was added to the west end, in front of the narthex, very much in the style of the Inigo Jones portico added to Old St Paul's Cathedral in the 1630s. The All Saints' portico was added as a memorial to Charles II's contribution to the rebuilding of the church after the fire, and a statue of him was erected above the portico, dressed in a Roman tunic. At 12:00pm on Oak Apple Day each year, the choir sings a Latin hymn to Charles II from the roof as the statue is wreathed in oak leaves by the Mayor of Northampton; a similar ceremony takes place on Ascension Day at 7:00am. The church building underwent some restoration in the 1970s under the direction of the Vicar at the time, Rev.
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Virgin Mary and her parents The inscription on a bronze plate embedded into the southern wall of the narthex says that the church was painted three times – in 1320 ( of which there are no surviving traces ), then in 1514 ( as for those paintings one can see only a fragment of the image of Virgin Mary with Christ under the parts of plaster from 1765 that fell off ) and the last time in 1765. The inscription above the southern door leading from the church into the chapel of St. John the Baptist, also tells about wall painting of the church on three occasions. In the side chapels the wall paintings were made in 1771, as can be read in the inscription.() Sreten Petković: Živopis crkve Uspenja u Srpskom Kovinu ( Rackeve-u ) , Zbornik Matice srpske za društvene nauke 23, Novi Sad 1959.
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Patriarchate of Peć, the seat of the Serbian Orthodox Church from the 14th century when its status was upgraded into a patriarchate Patriarchate of Peć is a Serbian Orthodox monastery located in the municipality of Peć with some buildings thought to originate in the 13th century, near Rugova valley and is one of the most outstanding complexes from Medieval period. It consists of Saint Apostles Church (13th century), Saint Demetry and Saint Nicolas Church (14th century) which all have the same narthex and monumental narrative style. In the 13th century, the Serbian Orthodox Church adapted, reconstructed, and transformed the church of Saint Apostles in Peć for their needs. This church had a stone-masonry roman style (processed and dressed stones) with opening massive walls and small windows that represent the core of the complex of the Patriarchate of Peć.
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Oldest sacral building is the original monastery church, from early Byzantine period, built before the middle of the sixth century and was based on the three-aisled (central nave and two lateral aisles) basilica with a narthex and a semicircular apse where there was a reliquary. When the autocephalous Serbian Archbishopric was founded in 1219, seat of the newly created Eparchy of Hvosno was placed in the Monastery of the Mother of God in the region of Hvosno, and a new church was built within the monastery complex. A century and a half later, after the creation of the Serbian Patriarchate of Peć (1346), the Eparchy of Hvosno was raised to the honorary rank of a Metropolitanate, and as such it is mentioned in written sources in 1473, 1566 and 1635. The last metropolitan Victor is mentioned in 1635.
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By 1900 no more lots were available; the last burial in a family lot was in 1991. In 1997, the congregation established a memorial garden for cremated remains of members. Currently 708 are buried in Lots 1 through 390, Sections 1 through 4; additionally, 8 are interred in the memorial garden. The churchyard has become the final resting place for veterans of the French and Indian War (1754–1763), the American Revolution (1774–1781), the War of 1812, the Mexican–American War (1848), the Civil War (1861–1865) and World War I. Two plaques in the church’s narthex give the names of the "sons of Zion" who served in World War I and World War II. The church graveyard is home to the ashes of Jonathan Hager, founder of Hagerstown, who gave the lot upon which it stands.
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As of April 2013, Fr. Theodore has completed the eastern part of the church (including the whole Holy Altar area, main dome and the pandentifs), the entrance porch (so called exo- narthex) and one fresco composition on the western gallery, the one of the patron-feast "Dormition of the Most Holy Birth-giver of God" (donated by the youth organization-"Macedonian Orthodox Philanthropic Society of Columbus"-MOPS). In this, he has depicted many important and traditional frescos. For example, on the far wall of the altar is the most holy Theotokos, or the icon, Our Lady of the Sign also known as "more spacious than the heavens" (Greek: Πλατυτέρα των Ουρανών [Platytera ton ouranon]). In addition to this, he has also depicted Feast of the Ascension and the Feast of the Pentecost (Descent of the Holy Spirit) is also depicted.
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Holy water is drunk by the faithful after it is blessed and it is a common custom for the pious to drink holy water every morning. In the monasteries of Mount Athos holy water is always drunk in conjunction with consuming antidoron. Eastern Orthodox do not typically bless themselves with holy water upon entering a church as Western Catholics do, but a quantity of holy water is often kept in a font placed in the narthex (entrance) of the church, available for anyone who would like to partake of it or to take some of it home. After the annual Great Blessing of Waters at Theophany (also known as Epiphany), the priest goes to the homes of the faithful within his parish and, in predominantly Orthodox lands, to the buildings throughout town, and blesses them with holy water.
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All Saints is an imposing church—one of the largest of the 19th-century Gothic revival—and bears some resemblance to one of John Loughborough Pearson's largest ecclesiastical projects, Truro Cathedral. Pearson used local sandstone for the exterior, in contrast to the knapped flintwork and red brick decoration of his other Hove church, St Barnabas; and the predominant architectural style, the Early English Decorated style, is also markedly different from his other major churches, mostly in the London area. The interior is also of stone, usually only seen in the grandest of mediaeval buildings, and the great roof is constructed of Sussex oak. The narthex at the western end leads through to a very wide nave with aisles and tall arcades on both sides (likened by Pevsner to those of Exeter Cathedral) and a chancel with side chapels.
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Saint Peter mosaic The exonarthex (or outer narthex) is the first part of the church that one enters. It is a transverse corridor, 4 m wide and 23 m long, which is partially open on its eastern length into the parallel esonarthex. The southern end of the exonarthex opens out through the esonarthex forming a western ante-chamber to the parecclesion. The mosaics that decorate the exonarthex include: # Joseph's dream and journey to Bethlehem; # Enrollment for taxation; # Nativity, birth of Christ; # Journey of the Magi; # Inquiry of King Herod; # Flight into Egypt; # Two frescoes of the massacres ordered by King Herod; # Mothers mourning for their children; # Flight of Elizabeth, mother of John the Baptist; # Joseph dreaming, return of the holy family from Egypt to Nazareth; # Christ taken to Jerusalem for the Passover; # John the Baptist bearing witness to Christ; # Miracle; # Three more Miracles.
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The front facade was said to have been modelled on that of the Cathedral of St. Michael and St. Gudula in Brussels.Wellington City Council, St Mary Of The Angels (retrieved 18 April, 2018) The structure is reinforced concrete and brick with a timber roof supported by concrete arches with steel tie rods. Its construction was innovative in that it was 'the first occasion ferro-concrete was used for a church of Gothic design'. The church is noted for its collection of stained glass windows, especially in a continuous series completely around the clerestory interrupted by the rose window above the narthex, a window of the crucifixion above the high altar and two spacious banks of 15 windows, one finishing the north transept (fifteen decades of the Rosary) and one finishing the south transept (the life of St Joseph).
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The said tower is one of the two of its kind in the Philippines with a large arch bridge connecting the church and the tower. The tower belfry housed five bells named Maria Concepcion, the biggest, which was made by order of Fr. Antonio de Guadalajara in 1878; the San Francisco, dedicated to the town's patron saint made by the order of Fr. Juan Fernandez in 1881; San Jose, the smallest made by the order of Fr. Francisco Gascuena; and two others. As a result of a furious typhoon, the entire town got flooded in 1802, causing much damages that the value of a sack of rice reached four pesos with four reales the following year. After this crisis, Fr. Gascueña managed to construct the narthex (an arch made of stone sustaining the choir) in 1804.
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In the main apse there are three bands of paintings: the highest shows Christ Enthroned with two angels to his right, the symbols of the gospel writers and the moment of Deisis with Mary and the disciples. The lowest series shows fathers of the church, Basil the Great of Kayseri, Gregory of Nisa, and Gregory of Nazians. In the north aisle of the cross are representations of The Annunciation, The Nativity and The Presentation at the temple with the figures of John the Baptist and Saint Stephen which must have been painted by the hand of a second artist. On the inside of the narthex to the south of the entrance door are representations of Mary and baby Jesus and on each side of them the archangels Gabriel and Michael which belong to the hand of a third artist.
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Early Christians used the palm branch to symbolize the victory of the faithful over enemies of the soul, as in the Palm Sunday festival celebrating the triumphal entry of Jesus into Jerusalem. Many churches of mainstream Christian denominations, including the Lutheran, Catholic, Methodist, Anglican, Moravian and Reformed traditions, distribute palm branches to their congregations during their Palm Sunday services. Christians take these palms, which are often blessed by clergy, to their homes where they hang them alongside Christian art (especially crosses and crucifixes) or keep them in their Bibles or devotionals. In the period preceding next year's Lent, known as Shrovetide, churches often place a basket in their narthex to collect these palms, which are then ritually burned on Shrove Tuesday to make the ashes to be used on the following day, Ash Wednesday, which is the first day of Lent.
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The ante-chapel is that portion of a chapel which lies on the western side of the choir screen. In some of the colleges at Oxford and Cambridge the ante- chapel is carried north and south across the west end of the chapel, constituting a western transept or narthex. This model, based on Merton College chapel (13th century), of which only chancel and transept were built though a nave was projected, was followed at Wadham, New and Magdalen Colleges, Oxford, in the new chapel of St John's College, Cambridge, and in Eton College. In Jesus College, Cambridge, the transept and a short nave constitute the ante-chapel; in Clare College an octagonal vestibule serves the same purpose; in Christ's, Trinity and King's Colleges, Cambridge, the ante- chapel is a portion of the main chapel, divided off from the chancel by the choir screen.
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Bedia Cathedral () is a medieval Georgian Orthodox cathedral located in Bedia, in the Tkvarcheli district of Abkhazia (or Ochamchire Municipality according to the Georgia's subdivision), a disputed region on the Black Sea coast. Bedia Cathedral was originally built at the close of the 10th century and consecrated in 999 on the behest of King Bagrat II of Abkhazia, who would go on to become the first King of the Georgia as Bagrat III and who was interred at the church after his death. The extant edifices, however, date back to the 13th-14th centuries and include a domed cruciform church, a belltower resting upon the northern narthex and the ruins of an old palace. The southern wall of the main church contains fragments of contemporary murals, including the portraits of Bagrat II and the representatives of the Dadiani noble family of Georgia.
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While never intended to be a cathedral, the Sagrada Família was planned from the outset to be a cathedral-sized building. Its ground-plan has obvious links to earlier Spanish cathedrals such as Burgos Cathedral, León Cathedral and Seville Cathedral. In common with Catalan and many other European Gothic cathedrals, the Sagrada Família is short in comparison to its width, and has a great complexity of parts, which include double aisles, an ambulatory with a chevet of seven apsidal chapels, a multitude of steeples and three portals, each widely different in structure as well as ornament. Where it is common for cathedrals in Spain to be surrounded by numerous chapels and ecclesiastical buildings, the plan of this church has an unusual feature: a covered passage or cloister which forms a rectangle enclosing the church and passing through the narthex of each of its three portals.
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In addition, the front contains a collection of monuments celebrating the twelve apostles, with a clock above, crowned with the sculpture of an angel that was added in the 19th century. The royal Spanish coat of arms occupied the area below the angel, but was removed by architect José Félix Maceira in 1874 and the clock, which was acquired in London, was added, giving the façade its present appearance. The nave is divided from the ambulatories by arches which support the massive ceiling, and has a fine baptistry chapel on the right, or north side, just inside from the narthex. Directly opposite, on the south side, inside the Chapel of Christ of Mapimí, is the tomb of St Peter of Jesus Maldonado, a priest and martyr who was ordained in the Cathedral Parish of Saint Patrick in El Paso, Texas, and canonised by Pope John Paul II in 2000.
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Tell tale remains were seen in the vault and in a niche above the western entrance to the narthex; these were in the form of decorated frescos of a frieze of prophets and of the patrons SS Cosmas and Damian. When the church was destroyed in 1999, icons and liturgical vessels were retrieved and deposited in Velika Hoča for safe keeping. The statues and figures seen in the church consisted of: St Nicholas, St Paraskeva and two Holy Warriors and fragment of the fresco of one of the officiating archbishops, on the southern wall; the figures of St Sava and St Simeon Nemanja on the west wall; the north wall had depiction of "The Vision of St Peter of Alexandria"; the east wall had the figure of the Archangel Gabriel from the Annunciation; and a niche in the prothesis had the figure of an archdeacon.
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They include many very well known churches such as Santa Maria in Cosmedin in Rome,famous for the ancient Roman "Mouth of Truth" set into the wall of its narthex the Baptistery in Florencefamous for the 15th-century Ghiberti Doors and San Zeno Maggiore in Verona.traditionally the marriage place of Romeo and Juliet In France, the famous abbeys of Aux Dames and Les Hommes at Caen and Mont Saint-Michel date from this period, as well as the abbeys of the pilgrimage route to Santiago de Compostela. Many cathedrals owe their foundation to this date, with others beginning as abbey churches, and later becoming cathedrals. In England, of the cathedrals of ancient foundation, all were begun in this period with the exception of Salisbury, where the monks relocated from the Norman church at Old Sarum, and several, such as Canterbury, which were rebuilt on the site of Saxon churches.
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Maria resided in Persia at court of Abaqa for a period of 15 years, until her husband - follower of Tengri - died and was succeeded by his Muslim brother Ahmad.Van Millingen (1912), p. 274 According to Orlean's manuscript, Baidu Khan was close to Maria during her time in Persia and frequently visited her ordo (nomadic palace) to hear interesting stories about Christianity. She eventually returned to Constantinople, but in 1307, during the reign of Andronicus II, she was offered again as bride to a Mongolian prince, Charbanda,Teteriatnikov, Natalia, "The Place of the Nun Melania (the Lady of the Mongols) in the Deesis Program of the Inner Narthex of Chora, Constantinople," Cahiers archéologiques 43 (1995), 163–80 the Mongol ruler of the Middle East in order to obtain an alliance against the rising power of the Ottomans, who at that time were threatening the Byzantine city of Nicaea.
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Detail of the south facade The exterior of the west facade of the basilica is divided in three registers: lower, upper, and domes. In the lower register of the façade, five round-arched portals, enveloped by polychrome marble columns, open into the narthex through bronze-fashioned doors. The upper level of mosaics in the lunettes of the lateral ogee arches has scenes from the Life of Christ (all post-Renaissance replacements) culminating in a 19th-century replacement Last Judgment lower down over the main portal that replaced a damaged one with the same subject (during the centuries many mosaics had to be replaced inside and outside the basilica, but subjects were rarely changed). Mosaics with scenes showing the history of the relics of Saint Mark from right to left fill the lunettes of the lateral portals; the first on the left is the only one on the façade still surviving from the 13th century.
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Intricate woodcarving, wall-sized murals and mosaics, and monumental cast bronze gates can also be found. Most of the interior decorative elements have Christian symbolism, in reference to the church's Episcopal roots, but the cathedral is filled with memorials to persons or events of national significance: statues of Washington and Lincoln, state seals embedded in the marble floor of the narthex, state flags that hang along the nave, stained glass commemorating events like the Lewis and Clark expedition and the raising of the American flag at Iwo Jima. The cathedral was built with several intentional "flaws" in keeping with an apocryphal medieval custom that sought to illustrate that only God can be perfect. Artistically speaking, these flaws (which often come in the form of intentional asymmetries) draw the observer's focus to the sacred geometry as well as compensate for visual distortions, a practice that has been used since the Pyramids and the Parthenon.
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During its consecration, air-raid precautions were in place and anti-aircraft gun fire could be heard in the distance, leading the Bishop to say, "churches are being destroyed by agencies more unnatural and vile than the Great Fire [which had all but destroyed a previous form of All Hallows Lombard Street]". The main body of the church is a brick-built basilica with a narthex leading through the cloister to the old tower to the north, and to St Martin's Chapel to the south. The Christopher Wren-designed tower houses a peal of ten bells, including some of those that were originally hung at St Dionis Backchurch, then at Lombard Street.All Hallows Twickenham: The All Hallows Bells Inside the tower a massive oak gateway is preserved; it had been placed at the Lombard Street entrance to the old church after the Great Fire of London, and is decorated with skulls and crossbones.
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Looking East towards the Sanctuary Looking West The original church had always been intended to be temporary until funds could be found for a larger and permanent building and Fortescue created designs for a new church before his death in 1923. In 1938 a design for a new church was drawn up by John Edward Dixon- Spain of Nicholas and Dixon-Spain and Partners and building of this new church should have started in September 1939 but was interrupted by the outbreak of World War II. In the end work did not start until May 1961, still largely following Dixon-Spain's original stripped modern Romanesque design and with John Willmott & Sons of Hitchin as the builders. The church has a frame of reinforced concrete and steel which is externally clad in brick with Clipsham stone window and door surrounds. The nave is broad and long nave with narrow aisles and with a western narthex and baptistery and a Sanctuary and Lady Chapel to the south.
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The organ is a spectacular example of the work of Austral Organ Works, in a silky oak case designed by George Payne and built by Messrs JD Campbell and Son for £1440. The kinetic electric blower installed in the organ was apparently the first installed in Australia and relies on a rotary action, combining a series of duct fans to eliminate noise from operation. The prominence and importance attached to the organ reflects the significance of music in the Presbyterian church, particularly at the time of the construction of this building. Three stained glass windows in the narthex of the church are of particular note as the work of prominent Sydney stained glazier, FW Ashwin and Co. The central panels represent the Burning Bush and flanking it are two figural windows, one of John Knox and the other of John Calvin, both of whom were associated with the early development of Presbyterianism.
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The parish's governing "Fabrique", or council of wardens, reportedly appointed a committee to measure the Catholic church in Thibodaux, Louisiana, and > then contracted with one Wilson Grisamore "to build a Church of Assumption > for the amount of $13,500 after the plan of the Catholic church of Thibodaux > (sic) using the same dimensions, with the bell tower being fifteen feet > higher than the one at Thibodaux." This mid-century example of one-upmanship > produced a competent English Gothic church which was rendered even more > unique in its area by the burning of its model, St. Joseph's Church in > Thibodaux, in 1916. The contracted cost of the new church was paid to Mr. > Grisamore across a four year period, with an additional sum of $1129.48 > being paid him for "extra work" in 1855, and the church seems to have been > essentially complete by 1856. The NRHP nomination describes the church as having > a pitched roof-basilican plan with a central square tower at the narthex.
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The "Angelic temple" named in the inscription has been identified by some scholars as Bernward's sepulchral church of the archangel St. Michael. According to them, the doors were originally hung in the south aisle (perhaps as two separate doors), in the cloisters, or in no longer extant westwork and were transferred to the Cathedral in 1035 for the new western entrance which Wolfhere (de) reports that Bishop Gotthard had made in his biography, '.Originally argued by Dibelius 1907, pp. 78-80. A combination of the previous hypothesis with the original location of the doors is provided by Wesenberg.Wesenberg 1955, pp. 174–181 Latterly, Bernhard Bruns attempted to locate the original location of the doors at St. Michael's by their iconography. The excavations carried out during renovations in 2006 have now demonstrated that St. Michael's never had a westwork. But the installation of the doors on the south aisle has also come into question, since foundation remains of a narthex were found there, next to the western stairway tower.Tschan, Francis J. Saint Bernward of Hildesheim. 3. Album. Publications in Mediaeval Studies, 13.
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In 1651, after Jersey was captured by Parliamentarian forces, the church was used initially as a barracks by the victors, and then as a garrison church. Memorial stone of Major Peirson Memorial stone of Baron de Rullecourt The parish guns for the militia were kept in a store on the site of the present Narthex, and were taken for their own use by invading French forces in 1781 during the Battle of Jersey. The two opposing commanders of the battle, Major Peirson and Baron de Rullecourt – who were both killed during the action – are buried within the boundaries of the church, Peirson under the Chancel (there is a memorial in the Crossing, and a later, rather more elaborate one in the South Chapel) and de Rullecourt in the churchyard, his grave marked by a simple stone. The precise location of Peirson's grave has been controversial, as the Victorian renovations involved the complete alteration of the supposed burial site; consequently it has long been suspected that the stone marking Peirson's grave is in the wrong place.
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Great Basilica, narthex mosaic - detail In the early Byzantine period (4th to 6th centuries AD) Heraclea was an important episcopal centre. Some of its bishops have been noted in the acts of the Church Councils as bishop Evagrius of Heraclea in the Acts of the Sardica Council from 343 AD. A small and a great basilica, the bishop's residence, and a funerary basilica and the necropolis are some of the remains of this period. Three naves in the Great Basilica are covered with mosaics of very rich floral and figurative iconography; these well preserved mosaics are often regarded as fine examples of the early Christian art period. Other bishops from Heraclea are known between 4th and 6th century AD as bishop Quintilinus mentioned in the Acts of the Second Council of Ephesus, from 449 AD. The city was sacked by Ostrogoth/Visigoth forces, commanded by Theodoric the Great in 472 AD and, despite a large gift to him from the city's bishop, it was sacked again in 479 AD. It was restored in the late 5th and early 6th century.
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Construction did not begin until 1889, with the first stone being laid on 25 April 1889; during the 1880s, Pearson had been working on various projects, including the vicarage (on the same plot of land) and the nearby St Barnabas Church. The church was built, opened and consecrated in stages: the nave and side aisles, forming the core of the present building and costing £14,000, were opened in 1891 after a consecration ceremony by the Bishop of Chichester (Richard Durnford, who personally gave £1,000 towards the cost of the church) on 1 May 1891; the eastern end was not finished until 1901, four years after Pearson's death—its completion was overseen by his son, and the new Bishop of Chichester, Ernest Roland Wilberforce consecrated it on 1 November 1901; and an incomplete tower on the southwestern side, and an adjacent narthex, were provided in 1924. The tower has never been finished, although its interior does feature a statue of Revd Peacey holding a model of the church. By this time, £40,000 had been spent on construction.
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From a selected group of more than thirty artists, John Collier was chosen as one of the sculptors for the Catholic Memorial at Ground Zero. His four sculptures, representing the patron saints of police officers, firefighters, and workers, along with St. Mary Magdalene, first witness to the Resurrection, along with the chapel design team and the other chosen artists received the prestigious Optimé Award and were dedicated by Cardinal Egan in May 2005 in memory of those who died on 9/11/01 and of those who took part in the rescue effort. The works are permanently installed at St. Joseph’s Chapel, adjacent to Ground Zero in New York. Mr. Collier’s work has been exhibited at the Westmoreland Museum of American Art, the Mulvane Museum, the Narthex Gallery at Saint Peter’s Church in New York City and at Tatischeff Gallery in New York, the New York Historical Society Museum, Christie's Auction House, and the Smithsonian Institution’s Traveling Art Exhibition, the Museum of Biblical Art (Dallas), as well as many churches and religious institutions.
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Although often referred to as a 'Greek Cross' church, this building does not really fall into this category, as it has no projecting 'arms' or transepts, only a single apse on three sides, and a triple apse to the 'east' (the church is not aligned to the compass points). The triple apse would not appear to have been mirrored to the 'west' where the entrance was and is to be found, subsequent alteration has made it impossible to determine whether there was originally a narthex. The church is also architecturally quite distinct from the Palatine chapel in Aachen, and from S. Vitale in Ravenna – two buildings upon which it is often claimed that SS.Geneviève & Germain is modelled – in that it is square rather than round, has exterior apses and is constructed differently. This is rather a rare survival of a very early form of Western European church, pre-dating and perhaps contributing to the development of the Romanesque which forms the majority of ancient churches in France and, indeed, in Western Europe.
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Jastrebov described the ruins of two Orthodox churches in Baleč, whose ruins belonged to the territory of Rioli tribe. He explained that the first church was a cathedral with dimensions of 25 times 10 steps, and a narthex with dimensions 17 times 10 steps. Jastrebov described another church on the southern side of Baleč as smaller and built in the same stile as cathedral. At the beginning of the 14th century, Baleč was the seat of a small Catholic diocese. In 1356, Bishop Andreas Citer complained that his bishopric was full of schismatics. The diocese had been laid waste and impoverished by "the schismatics of the kingdom of Rascia", who had completely destroyed the monastery situated 5000 paces from the cathedral. In response, Pope Innocent VI granted him in commendam, on 26 September of the same year, the Benedictine monastery of St. John in Drivast..Wissenschaftliche Mitteilungen aus Bosnien und der Hercegowina, Volume 10 (1907), p. 6. Quote: ... welches Kloster als "ab regni Rasciae schismaticis quasi totaliter dissipatum" bezeichnet wird; die Verleihung dieser Pfründe erfolgte, weil die Diözese von Balecium von den Schismatikern verwüstet worden und verarmt war.
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With his right hand, he is guided by St. George, to whom the temple is dedicated, and shown approaching the Mother of God, greeting him with Christ sitting on the throne. In the southern apse is the gallery of the Serbian medieval rulers, an impressive line-up with every one of them represented by their respective churches. The first on the left is Stefan Nemanja (ruled from 1168 to 1196), wearing a priest garb of the Hilandar monastery, holding the Studenica monastery. Then, there is King Stefan the First Crowned (1196-1227) with the model of the Žiča monastery, then King Stefan Radoslav (1227–1234) with the narthex of Studenica monastery, followed by King Stefan Vladislav (1234–1243) with the Mileševa monastery, then King Stefan Uroš I (1243–1276) with the Sopoćani monastery; King Stefan Dragutin with the Church of St. Achillius (1276–1282), King Stefan Milutin (1282–1322) with the Gračanica monastery, King Stefan Dečanski (1322-1331) with the Visoki Dečani monastery, and two emperors – Stefan Dušan (1331-1355) with the Monastery of the Holy Archangels; and Stefan Uroš V (1355–1371) with the Matejić monastery.
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