The retable is on display after a restoration process that took more than two years.
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Smaller retables contain depictions of the Virgin of charity and the Christ of charity while the main retable is part of a dizzying display of gold and painted detail.
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From the Westminster Retable altarpiece to Prince William and Kate Middleton's marriage license, the items are exhibited along four themes - "Building Westminster Abbey", "Worship and Daily Life", "Westminster Abbey and the Monarchy" and "The Abbey and National Memory".
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I was certainly not expecting to have the wind knocked out of me when I walked into the south tower to see the restored "Holy Spirit Retable" (1448/49) facing Bernhard Johannes Blume's "71 Designs for Editions in Porcelain" (43).
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Some items on display will include Prince William and Kate Middleton's marriage license (the Abbey has hosted 17 royal weddings), Queen Mary II's coronation chair used for William III and Mary's joint coronation in 1689 and the Westminster Retable, the oldest surviving altarpiece in England.
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They include the Westminster Retable, England's oldest altarpiece, dating to the 13th century; the Litlyngton Missal, a magnificent illuminated 14th-century service book with instructions on celebrating Mass throughout the year; and a series of effigies of deceased kings and queens: wood or wax sculptures that were made just before or just after their deaths, and placed on their coffins in funeral processions.
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The church is presided by a superb polychrome wood retable. The retable recounts the life of the Virgin in narrative and symbolic references.
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In the lateral chapels there are two Gothic retables (c.1500, 1507); one Italian Renaissance retable (16th century); one late Renaissance retable (1610, polycromed in 1617); and five Baroque retables (1642, 1683, 1685).
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The main one is the Saint Margaret retable in the Fréjus Cathedral. Another retable, originally from Lucéram, is now kept in the Musée des Beaux-Arts de Nice. Detail of the Lucéram retable He presumably learned to paint in Siena or from a Sienese master. He worked circa 1440 in Bouyon, in 1443 in Taggia in northern Italy, and around 1450 in Fréjus and possibly Marseille.
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An image of San Ignacio (St. Ignatius Loyola) to the left and an image of San Luis Gonzaga (St. Aloysius Gonzaga) to the right are also in the main retable. The main retable was decorated using salomonica columns, foliage, and angels with trumpets.
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San Vicente Martir church, retable La quinta Estación del Via Crucis of Vegafría. El Pradillo.
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Upper part of figure of Saint Peter The retable measures 959 x 3330 mm (approximately 3 feet by 11 feet) and is painted on several joined oak panels using thin glazes of colour in linseed oil on a gessoed ground. The construction is complex, with six main flat panels, and several other wooden elements. The retable is divided into five sections by gilded wooden arcading,"Westminster Retable", Westminster Abbey: From 1065 to Today. Retrieved 24 December 2008.
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The altarpiece devoted to Saint Peter, is currently in Museu d'Art de Girona and is the only directly documented piece produced by the artist. The retable was completed in the beginning of the 1440s. Very similar style is found in the Retable of Saint John, which was kept in the parish church of Vinaixa, as well as in the Retable of Saint Michael from La Pobla de Cérvoles. This style shows more attention to detail than earlier works by Martorell.
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Tauste () is a municipality located in the province of Zaragoza, Aragon, Spain. Sights include the Mudéjar church of Santa María, begun in the late 13th century and finished in the 14th century. It has an octagonal tower, a Baroque retable (16th century) and a Renaissance retable of the Coronation of Mary.
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The retable may hold the altar cross, mostly in Protestant churches, as well as candles, flowers and other things.
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The term referred generally to an open hearth of a fireplace or a screen placed behind a table. Used in the 14th and 15th centuries, reredos had become nearly obsolete until revived in the 19th century. A reredos differs from a retable in its size and positioning; while a reredos typically rises from ground behind the altar, the retable is smaller and stands either on the back of the altar or on a pedestal behind it. Many altars have both a reredos and a retable.
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The term reredos is sometimes confused with the term retable. While a reredos is generally placed on the floor behind an altar, a retable is placed either on the altar or immediately behind and attached to the altar. In French (and sometimes in English by confusing the terms), a reredos is called a retable; in Catalan a retaule, in Spanish a retablo, etc. Reredos is derived through Middle English from the 14th century Anglo-Norman areredos, which in turn is from arere behind +dos back, from Latin dorsum.
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The altarpiece, whose manufacture took till 1541 and cost 80 thousand reais, is now lost. Around the same time he also worked on the retable of the Convent of Santa Maria in Almoster. Three panels of this retable exist in private collections. They are a Resurrection, a panel of St. Vincent and a panel of St. Sylvester.
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One of the workshop's main works is the main retable in the Iglesia de San Miguel Arcángel in Peñaranda de Bracamonte, Salamanca. Ducete and Rueda signed the contract for the work on 11 June 1618. It is disputed if Ducete still worked on the retable. Van Hess claims that Ducete died in 1619 before working began.
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St. Jerome retable Jorge Inglés (fl c. 1450) was a painter and illuminator who was active in Castile in the mid-15th century.
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These sorts of altars from Antwerp were very widespread across northern Germany during the late 16th century. The predella of the main altar's retable, destroyed in 1945 during the war, was created around 1390 as a self-standing, two-pronged altar retable by the Master of the Berswordt retable, a painter associated with French art during the 1380s whose workshop was assumed to be in Cologne.Götz J. Pfeiffer, Die Malerei am Niederrhein und in Westfalen um 1400. Der Meister des Berswordt- Retabels und der Stilwandel der Zeit (= Studien zur internationalen Architektur- und Kunstgeschichte, 73), Petersberg (Imhof-Verlag), 2009; .
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These details were not present in Catalan art before Martorell. About the same time, Martorell also executed illustrations to the Ferial Psalter and the Book of Hours, and painted the Predella of the Passion of Christ (Museu de la Catedral de Barcelona). Two altarpieces, Retable of Saint Vincent (which survived entirely) and Retable of Saint Lucy (the top of the central section was probably executed by another painter) were apparently painted in the 1430s. In 1437, Bernat Martorell got a commission to create an altarpiece (Retable of Saint Pere de Púbol) for the church in Púbol.
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The Feeding of the Five Thousand; one of the better-preserved sections of the altarpiece The Westminster Retable, the oldest known panel painting altarpiece in England,Hamilton Kerr Institute, with full image of the retable, accessed 13 July 2010 is estimated to have been painted in the 1270s in the circle of Plantagenet court painters, for Westminster Abbey, very probably for the high altar. It is thought to have been donated by Henry III of England as part of his Gothic redesign of the Abbey."Westminster Retable: England's Oldest Altarpiece", National Gallery Exhibition Description, and accompanying press release . Retrieved 24 December 2008.
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He worked on its realization with Pierre Biardeau. The church of Drouges has 2 small side altarpieces, the one on the left being a work of Corbineau\- Retable latéral sud et tabernacle de Drouges. carried out between 1637 and 1640.\- Retable et tabernacle de Drouges He also designed the one for the church of the convent of the Cordeliers of Rennes.
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At the base of each pillar is the date "L'AN. 1000. 500. 23"."Ligier Richier L'Artiste et Son Oeuvre" by Paul Denis. Published in Paris in 1911 During the 1914-1918 war, the German Army transferred the retable to the "Chapelle des Templiers" in Metz. This was after a bomb had fallen on the church although the retable was not damaged.
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In order to accomplish this task, some of the church's gold decorations were sold in order to finance the plastering and construction of the retable.
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The main altar does not have a retable, which some 60 to 70 years back, was substituted by the throne of Exposition of the Sacrament. In this retable there were 6 big images of Dominican saints; five of which are in the corridor of the church. These were even taken to the fourth centenary celebrations of the canonical erection of the Archdiocese of Goa.
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In the chapel there are other dates, some of which, thanks to the restoration work (Haas 1997) have been able to be correctly attributed: the retable dates to the year 1705, and the date of 1905 above the door lintel indicates the restoration measures of that time. The date of 1460 that was painted on the retable until the 1995-97 restoration was classified as incorrect.
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The painting of the main altar was executed by the Italian Agostino Masucci. The 13 panels of the original painted Flemish retable of the main chapel can be seen in the Évora Museum. The retable was commissioned around 1500 to a workshop in Bruges by bishop Afonso de Portugal. The chapel (Capela do Esporão) in the left transept was rebuilt in the 1520s in Manueline style.
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The belfry has a pyramid decorated in azulejos arranged in a zigzag pattern. The hospice has two floors built around a courtyard. Much of the baroque-style high altar and retable date to the early 18th century; the central elements of the retable were added in the 19th and 20th century. The sacristy has its original set of jacaranda furniture, including a sacristy cabinet and trunks.
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Sometimes the Retable of Saint John the Baptist from Cabrera de Mar (Museu Diocesà de Barcelona) is attributed to Martorell. If he indeed painted the retable, this could explain the gap between Martorell and the International Gothic in Catalunya. There is, however, no documented evidence that Martorell painted the retable, and his authorship has been disputed. One of the earliest surviving works of Martorell, Saint George Killing the Dragon (tempera on panel, Art Institute of Chicago), depicting Bernat Martorell's patron saint, was created in the early 1430s and already demonstrates the complexity of composition, richness of colors and fine details which could only been executed by a fully trained artist.
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Since its rediscovery, the piece has been further damaged by attempted restoration efforts, which included a coating of glue intended to hold together painted layers.Paul Binski, "The Earliest Photographs of the Westminster Retable" The Burlington Magazine 130 No. 1019, Special Issue on English Gothic Art (February 1988:128-32); the retable was first photographed in 1897 Watercolours of the Retable were made for the Society of Antiquaries of London; a conjectural restoration was included in Viollet-le-Duc's Dictionnaire raisonné du mobilier français,Vol. I (Paris, 1858) plates IX and XXII (noted by Binski 1988:129 note 6). and plates accompanied William Burges's essays on painted objects at Westminster Abbey.
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Several reliable sources have written that the "Chapelle des Princes" contained a retable by Ligier Richier. Nicolas Luton Durival, for example, the Lorraine historian, wrote stating that the chapel included work by Richier . The retable included a bas-relief depicting the "Annunciation" and this had "Ligier Richier 1554" inscribed. There were also carvings of two of the prophets as well as Jesus Christ, the Virgin Mary and St John.
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Scott Morton & Co. provided eight oak stools in 1934. As a memorial to George V, a communion table with a short retable was commissioned from Scott Morton & Co. and designed by John Fraser Matthew. The front of the table shows the Lamb of God and the retable bears emblems of each person of the Trinity. The table replaced the chair of investiture at the east end of the Chapel.
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It was dedicated by Forbin-La Barben in 1716. It was fully sculpted and painted from 1726 to 1728. Inside, there is a retable dating back to 1505.
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The Nailloux Altarpiece (French: "Retable de Nailloux") is a retable-type altarpiece made of five alabaster panels carved in high relief. Dedicated to the Passion of Jesus Christ, it is conserved in a chapel of St. Martin Church of Nailloux, in the Haute-Garonne department in southwestern France. The retable is a Nottingham alabaster and was probably carved during the second half of the 15th century in a Midlands workshop. Although it is currently impossible to recognize the potential funder / sponsor at the source of the appearance of this foreign work in Nailloux, the work itself is contemporary of a period of economic development for the region: the golden age of woad culture in Lauragais.
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Retable of the Cathedral The retable of the Cathedral of Toledo is an extremely florid Gothic altarpiece; it is one of the last examples of this artistic style, which was disappearing as the Renaissance began to take hold in Spain. Commissioned by Cardinal Cisneros, the work was begun in 1497 and finished in 1504. Among the architects, painters and sculptors who collaborated in this collective masterwork were: Enrique Egas and Pedro Gumiel (design), Francisco de Amberes and Juan de Borgoña (estofado: the technique of finishing sculpture of wood with gilding and punched patterns, and polychromy), Rodrigo Alemán, Felipe Vigarny, Diego Copín de Holanda y Sebastián de Almonacid (religious images), and Joan Peti (carving and filigree).The retable in architoledo.org.
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Saint Bernward's Church Interior. Altar and retable. Statue of Saint Bernward. The church was built by the architect Richard Herzig from Hanover in 1905–1907, in a neoromanesque style.
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In 1971 a fire in the church destroyed the retable apart from two figures.Cf. Peñaranda de Bracamonte#Peñaranda hasta la actualidad in the Spanish Wikipedia. Ducete died in Toro.
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In the interior, the cupola is covered by wood with a modern retable, divided into three section, aligned to the eastern-facing wall. It is marked by a rounded arch, with its nave extending to an altar composed of retable with four ionic columns, presenting an image of the Virgin Mary. The octagonal false cupola is covered in wood framework. The fort is constituted by a curtin of walls marked by a main gate.
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Between 1445 and 1452, Bernat Martorell produced the Retable of the Transfiguration from the Barcelona Cathedral and the Main Retable of Santa Maria del Mar in the cathedral of Santa Maria del Mar. It is also presumed that Martorell provided a model according to which the embroiderer Antonio Sadurní executed the altar frontal of Saint George, between 1450 and 1451, conserved in the Palau de la Generalitat de Catalunya's Capella de Sant Jordi.
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These conjectures allow dating the genesis of the retable in 1470 to 1480s. In the event that the purchaser of the altar was a Hussite captain Jakoubek of Vřesovice, who died in 1467, dating emergence retable it can be shifted to the 1460s. The Church of St. Wenceslas (Roudníky), for whose altar it was intended, is already mentioned as a parish in 1352, and was rebuilt in the Gothic style in 1486.
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John Pope- Hennessy called it "the finest Renaissance tomb north of the Alps". After this Torrigiano received the commission for the altar, retable and baldacchino which stood at the west, outside the screen of Henry VII's monument. The altar had marble pilasters at the angles, two of which still exist, and below the mensa was a life-sized figure of the dead Christ in painted terra cotta. The retable consisted of a large relief of the Resurrection.
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The Thornham Parva Retable The Thornham Parva Retable is a long medieval altarpiece, thought to have been created in the 1330s for a Dominican Priory.The Hamilton Kerr Institute in Cambridge has restored a 15-ft long medieval altarpiece, History Today, 2003. It is the largest surviving altarpiece from the English Middle Ages. It survived the reformers of the 16th Century, who raged against idolatry and destroyed most of England's medieval culture, by being removed from the priory.
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Vinaixa () is a municipality in Les Garrigues, Catalonia, Spain. The main attraction is the church of St. John the Baptist, in Romanesque-Cistercian style. It houses several Romanesque paintings and Gothic retable.
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Above the retable may be found the crowning or superstructure, pinnacles and flowers of the cross. Relics can be housed below it, in a reliquary in the predella lying on the altar stone.
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It was renovated, or possibly completed, in 1907 in the Neoclassical style, typical of church renovations in Bahia in the previous century. A plaque on the facade of the church dated February 2, 1907, probably commemorates the end of the reform works. The Neoclassical retable was likely installed during this renovation, replacing a simple retable of the previous century. The floors of the side corridors were repaired in 1965, and the roofing of the galleries and sacristies were replaced between 1967 and 1968.
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The first mentions of Jordi working alongside his master, on the royal tombs in Poblet Monastery date to 1363. He also collaborated on the apostles statues for the portal of the Cathedral of Tarragona (1370–1377). After Cascall's death, King Peter IV of Aragon named him director of the works on the royal tombs (1381). In 1385 he executed a retable in Vallfogona de Riucorb and, the following year, an alabaster retable of St. Lawrence for the church of Santa Coloma de Queralt.
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Earlier literature mentioned a relationship between the Master of the Žebrák Lamentation and the Kefermarkt Altarpiece;Kropáček J, 1960, pp. 160 -175 however more recent works have highlighted the Swabian influence (the Velhartice retable, Gregor Erhart) as well as that of Danube-region sculptures and the Viennese work of Nicolaus Gerhaert and Erasmus Grasser.Homolka J, 1969, pp. 563–564 The Master of the Žebrák Lamentation followed on from the tradition of late 15th-century woodcarving represented by the Velhartice retable.
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St. Joseph Chapel was originally the choir apse of the 11th century Cathedral The most notable work of art in the cathedral is the eighteenth century Baroque retable made to hold the Holy Sacrament, located in the Corpus Christi chapel. The original retable was designed by the sculptor and painter Pierre Puget, and made of wood. The original was destroyed by fire in 1661, and replaced in 1681 by a replica made of marble and stucco by Puget's nephew and student, Christophe Veyrier.
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The back of the retable, which would have been invisible, is painted as imitation porphyry. Much of the retable is lost beyond recovery. The painting is of very high quality, probably by an artist used to working on illuminated manuscripts, to judge by the fine detail of the work, and some stylistic details. In its position on the high altar the detailed images would only have been clearly visible to officiating clergy, and no concessions were made to more popular taste.
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14 The Signoria took note and observed that Titian was neglecting his work in the hall of the great council, but in 1516 he succeeded his master Giovanni Bellini in receiving a pension from the Senate.Charles Hope, in Jaffé, p. 15 The pictorial structure of the Assumption—that of uniting in the same composition two or three scenes superimposed on different levels, earth and heaven, the temporal and the infinite—was continued in a series of works such as the retable of San Domenico at Ancona (1520), the retable of Brescia (1522), and the retable of San Niccolò (1523), in the Vatican Museums, each time attaining to a higher and more perfect conception. He finally reached a classic formula in the Pesaro Madonna, better known as the Madonna di Ca' Pesaro (c.
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The retable is from 1816. The pulpit was set in during a restoration of the church in 1890–1891. The wooden baptismal font has seven edges. It was made from oak in the 17th century.
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The painted wing panels of the sculpted Saluzzo retable are attributed to Valentin van Orley, describing the Life of St. Joseph (ca. 1510). The retable itself is Gothic in style, but these wing panels already show some characteristic of the Renaissance style (City Museum of Brussels). The panels of the Life of St. Roch in the Saint James' Church, Antwerp have been ascribed to Everard van Orley. In 1512 Bernard van Orley married Agnes Seghers; in 1539, shortly after Agnes' death, he married Catherina Hellinckx.
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Another work attributed to Inglés is the retable of St Jerome from the monastery in Olmedo, Valladolid, now residing in the National Sculpture Museum at the Colegio de San Gregorio. The seven predella panels include a St Sebastian with a curious hat. The main panel shows St Jerome in his Study. The retable in the parish church of Villasandino (Burgos), of which fragments survive, may be Inglés' last work. Jorge Inglés was responsible for various miniatures in manuscripts in the collection of Marqués’ Íñigo López de Mendoza.
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The Thornham Parva Retable The Hamilton Kerr Institute is a branch of the Fitzwilliam Museum in Cambridgeshire, England, dedicated to the study and conservation of easel paintings. It is also part of the University of Cambridge.
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In 1513 he is documented working on a commission for a retable for the Propsteikirche St. Mariä Geburt ('Provost Church of the Birth of Saint Mary') in Kempen (North Rhine-Westphalia). The retable was ordered by the local Annenbruderschaft ('Brotherhood of St Anne') and depicts scenes from the life of Saint Anne. The work is still on the high altar of the Propsteikirche. The painted wings of the altarpiece are among the earliest firmly dated paintings in the style of the Antwerp Mannerists and may be attributed to Adriaen van Overbeke himself or his assistants.
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A monolithic obelisk stands to the left of the church, although it initially was erected on a set of steps extending toward Rua de 31 de Janeiro. Originally positioned to align with the bell tower of nearby Clérigos Church, it was moved to its present location when the steps were altered in 1924 to accommodate shops. Two notable features of the church are the retable and the blue-and-white tiling. The artist and architect Nicolau Nasoni designed the retable, which was created and installed by architect Miguel Francisco da Silva in 1745.
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John the Baptist is a sculpture by the Baroque artist Alonzo Cano, housed in the National Sculpture Museum, Valladolid. The sculpture was made by the artist for the church of San Juan de la Palma, during his Seville period. In 1634 the Parish of Saint John the Baptist commissioned painter Juan del Castillo and retable joiner Miguel Cano, father of Alonso, a retable to include paintings and the central sculpture of Saint John. It was carved by Alonso Cano inspired by Martínez Montañés’ St. John the Baptist from St. Anne’s convent (Seville).
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The devotion, started in the 15th or 16th century, culminates each year on 20 January into the commemoration of "Vot del Poble" (pledge of the people). The retable of the Rosary has also survived the destruction in 1936.
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The work on the altarpiece began on July 20, 1452 when the carpenter Macia Bonafé was given the contract to construct the retable. It was stipulated that the altarpiece was to rest on a stone base with doors on either side leading to the sacristy. Bonafé was also to create a figure of the Madonna, which was to rest in a niche, as well as the heraldic lions of the guild. On the same day Bonafé received his contract, the guildsmen engaged Luis Dalmau to begin working on painting as soon as the construction of the retable was finished.
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Saint Margaret retable in Fréjus Cathedral Jacques Durandi (ca. 1410 - 1469) was an Italian painter active in France. Together with his brother Christophe, he worked in Nice. Very little is known of his life, but a few of his works have survived.
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Built after 1563 under the terms of a bequest of Guillaume Duprat, bishop of Clermont, and rebuilt in the 18th century, the college has a magnificent portal and a Baroque chapel with a prominent retable. Today the building serves the local lycée.
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The whole of both works is either gilded or painted. The Altar of Saints and Martyrs is 159 cm high, and 252 cm wide with the wings open. For the Retable of the Crucifixion the equivalent figures are 167 cm and 252 cm.
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An important and more elaborate retable of Saint Remaclus, of about 1150, about nine square metres in extent, was broken up during the French Revolution; and only two round enamel plaques survive, in Berlin and Frankfurt, though a 17th-century drawing survives in .
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A kitchen and veranda at the rear of the home. The facade and chapel have elements of Neoclassical architecture. The chapel had a polychrome painting and a retable typical of the 19th century. The entirety of the house has a floor of baked clay tile.
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The presbytery includes polychromatic white and gold tiles, with joints in white, and central altar decorated in gilded vegetal motifs on white retable and three images. On the epistle side, next to the altar, there is a little niche for religious items, with front corbel.
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These were likely destined for private devotion in residential homes (Maximilian Museum, Augsburg and Louvre Museum, Paris).Willem VAN DEN BROECK, dit Guilielmus PALUDANUS, Malines, 1530 - Anvers, 1579 - 1580, Le Calvaire at the Louvre His oldest alabaster relief is the Crucifixion of Christ, dated 1560 (Maximilian Museum in Augsburg). It was part of a retable of van den Broecke that was originally commissioned in 1560 by Bartholomeus May and his wife Sibilla Rembold for the Dominican church in Augsburg. The other parts of the retable include the Last Supper, the Sacrifice of Abraham, the Sacrifice of Melchizedek and the Resurrection of Christ (all in the Maximilian Museum in Augsburg).
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The village took its name from a castle built in the 9th century by Hatton, the Bishop of Verdun at the time. Richier's retable or altarpiece is divided into three distinct sections or niches which are separated by four upright pillars. The central section is constructed to form an arch and is higher than the sections to the right and left. Within each of these three niches, Richier has carved compositions in high relief whilst the pillars, arch and the rest of the retable feature elaborate carvings and embellishments which include the tools of the architect and the sculptor; a ruler and a compass and a hammer and chisel.
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His paintings in the church include Coronation of the Virgin and The Virgin of the Candelaria. Bitti also made a retable in St. Peter's Church. He stayed in Lima for eight years, working. In 1583, Bitti moved to Cusco, where he stayed until the end of 1584.
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The charnel house or ossuary dates from 1667 and was designed by the architect Guillaume Kerlezroux. it is dominated by a retable portraying the Risen Christ. Formerly it also housed a notable tableau of the Entombment of Christ, which has now been moved into the church itself.
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Velázquez Saint Rufina, by Zurbarán Justa and Rufina were a popular subject for Spanish artists. A 1540 retable is the earliest known piece of artwork depicting these two saints. A painting of the saints was done by Francisco Camilo in 1644. Goya, Murillo, and Zurbarán also painted these saints.
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The tower, which looks very similar to the tower of the Cathedral, is placed at the southern end. St. Bernward's Church houses several sightworthy pieces of art. The Gothic retable showing various saints and the Coronation of the Virgin dates from 1430.Hans Freter: Schatzkammer Hildesheim, p. 49.
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In both cases, the supporting plinth (predella) often featured supplementary and related paintings. If the altar stands free in the choir, both sides of the altarpiece can be covered with painting. The screen, retable or reredos are commonly decorated. Groups of statuary can also be placed on an altar.
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Pala d'Oro viewed in its altarpiece setting Pala d’Oro (Italian, "Golden Pall" or "Golden Cloth") is the high altar retable of the Basilica di San Marco in Venice. It is universally recognized as one of the most refined and accomplished works of Byzantine enamel, with both front and rear sides decorated.
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Korbeek-Dijle is a village in the Belgian province Flemish Brabant and is part of the municipality of Bertem. Korbeek-Dijle is known because of its church, the Sint-Bartholomeuschurch (constructed in 1860). This church has been renovated in 1988-89. Inside the church is a nice retable from 1522.
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Retable His nephew Claude de La Baume was made a cardinal in 1578.Miranda, "Cardinals of the Holy Roman church: Claude de La Baume" Two other nephews became abbots in commendam at the Abbey of Saint-Claude, establishing a precedent of abbots selected from the family that lasted until 1636.Benoît 1892:292.
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It was discovered in 1927 in a loft at Thornham Hall. The local landowner, Lord Henniker donated it to the church of Thornham Parva where his brother was parson. The origins of the retable were a puzzle but the picture itself provided vital clues. The figures pinpointed links with the Dominican Order.
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The Parish Church was fully walled and plastered by 1727. The tribunes, which originally rested on arches, were walled in. The Portuguese Crown donated 6,000 cruzados for the construction of the retable in 1729. A inspection of the church in 1730 revealed that the roof, ceilings, carvings, and altarpiece were in poor condition.
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First, the quire was skilfully painted throughout by painter J. > Bruch, from Trier. The whole work praises the master, and to the viewer they > impart great enjoyment, especially the hue, harmonizing so nicely as it does > with the new windows. In the weeks leading up to that, a new high altar, > which uses a few pieces of the old one, was installed, from the well known > workshop of Carl Frank in Trier. The task of giving the altar its required > height without hindering the view of the great middle window was best solved > by the addition of a retable with turrets. The carved images on the altar’s > retable and the antependium – symbols of the Holy Sacrament – bespeak an > extraordinary artist’s hand.
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The painting survived only because it was incorporated into furniture between the 16th and 19th centuries, and much of it has been damaged beyond restoration. According to one specialist, the "Westminster Retable, for all its wounded condition, is the finest panel painting of its time in Western Europe."Tudor-Craig, 105 In 1998 the Hamilton Kerr Institute in Cambridge, with support from the Getty Foundation and the Heritage Lottery Fund, began a six-year project to clean and conserve what remained of the work. Upon completion, it was displayed at the National Gallery, London for four months in 2005 before being returned to Westminster Abbey,"The Westminster Retable at the National Gallery" , The Electric Review, by Bunny Smedley, 27 May 2005.
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63 the construction costs were estimated at 40,453 SEK. Many reparations and changes have been made to the church since its construction, and the originally tall tower was replaced with the current, shorter, one in 1927; the current retable was installed in 1906;Grenberger, Alicja. ”Gräv där du bor!: Historiska axplock från Hisings Backa”.
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The cross is open to four bands, similar to the nave and chancel, consisting of vaulted ceilings in masonry and triumphal arch dividing the retable. The remaining arm of the transept, as well as the apse, covered in two-ribbed ogival sections, with buttons in black marble, that allow light to filter through slits.
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The main roof beams are exposed and emblazoned with biblical and commemorative captions. The door leading from sanctuary to sacristy is also carved with flowers enclosed in boxes. Retablo mayor There are three church retables, all brightly polychromed. The image of the Assumption of Mary is placed in the main retable, in the main niche.
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Right wing Altar Wings of Roudníky are two surviving wings of late Gothic retable, which probably originated in one of Prague's contemporary workshops for village (Utraquist) parish church.Wenceslas in Roudníky u Chabařovic (dist. Usti n / Labem). The altar wings exhibited at the Hussite Museum in Tabor have the status of a national cultural monument.
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Tabernacle of Anchin Abbey, Douai General Hospital. A 13th century gilded copper priest's cross, found at Anchin in 1872 in a tomb, is now in the musée des Beaux-Arts de Valenciennes. The Anchin Retable is a polyptych on wood of c.1551 by the artist Jehan Bellegambe, now held at the musée de la Chartreuse de Douai.
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The Church of Nossa Senhora do Bom Despacho () is the parochial church of the civil parish of Almagreira, located in the municipality of Vila do Porto, Portuguese archipelago of the Azores. It is a church of masonry, plastered and painted, constructed with decorative pilasters, friezes and cornices, molds and corner pinnacles, with a carved retable and tile covering.
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He sculpted a large marble group of the Virgin and Child for the church of Lorgues and created a monumental wooden retable still in place, for Toulon Cathedral. Hydra of Lerna was originally in the castle of Vaudreuil, and is now at the Musée des Beaux-Arts de Rouen. Mont Puget, near Marseille, is named after him.
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It combines elements of the church's previous instruments. The base of the retable woodwork is from the 1903 Lyon and Healy organ; the upper portion of the case, with the Gothic style embellishments, were from the 1934 additions; and seven ranks from the 1958 Wicks organ are part of the 29 ranks of the new organ.
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Saint George killing the dragon, 1430-1435 (Art Institute of Chicago). Bernat Martorell (died 1452 in Barcelona) was the leading painter of Barcelona, in modern-day Spain. He is considered to be the most important artist of the International Gothic style in Catalonia. Martorell painted retable panels and manuscript illuminations, and carved sculptures and also provided designs for embroideries.
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In the chancel a brass rail separates the choir from the rest of the sanctuary. The altar is of Caen stone, raised seven steps above the floor. The front features recessed round arches and tinted marble columns. Behind the stone reredos depicts two angels in front of a cross, sculpted in relief, praying over the retable.
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The original retable, during its stay in the Cathedral of Lisbon, contained "over twelve" panels, as a source from 1767 states.Adriano de Gusmão, Nuno Gonçalves; The Burlington Magazine Vol. 98, No. 638 (May, 1956), pp. 166+169 They were displayed in the cathedral at least until 1690 and were set aside in the cathedral until 1742.
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Amongst the most notable of the works destroyed at that time was the Baroque retable by Deodat Casanoves and Salvador Gurri. Some interesting stained-glass windows have survived from various periods. The spacing of the columns is the widest of any Gothic church in Europe—about forty-three feet apart, center to center.Hughes, Robert (7 December 2011).
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Whether or not he briefly returned to Valencia, Bermejo's later years were spent in Barcelona, where he first worked on the High Altar Retable for the convent church of Santa Anna (carpentry contract,1485) the surviving panels from this retable were destroyed in 1936, but old photographs suggest the intervention of a second, later hand, opening up the possibility that he did not finish this work either. Here, he completed his masterwork for Canon Lluís Desplà i Oms' private chapel, the Pietà in 1490, which contains the donor's portrait. Other documents in Barcelona concern designs for stained- glass windows. the Noli Me Tangere for the baptismal chapel of Barcelona Cathedral (1495) and two windows representing the virtues Faith and Hope for the Llotja of Barcelona in 1500 and 1501 (now destroyed).
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The "Bardi Dossal" in the Bardi Chapel of Santa Croce, Florence. This is usually so called, but is an altarpiece and might also be called a retable or reredos. The shelf it rises from is a retable Dossal curtain, below a painted altarpiece, Weston-on-the-Green, Oxfordshire Green riddel curtains, with a metalwork dossal, in the Mass of St Gilles by the Master of Saint Giles A Dossal (or dossel, dorsel, dosel), from French dos (back), is one of a number of terms for something rising from the back of a church altar. In modern usage, it primarily refers to cloth hangingsGuild but it can also denote a board, often carved or containing a painting, that rises vertically from the back of the altar and to which the cloth is attached.
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Nikolaus Pevsner. An Outline of European Architecture, 7th ed. 1963:289. His workshop in Marseille created the St. Lazarus marble altar as well as the retable of the Calvary in St. Didier d'Avignon, and the tombs of Giovanni Cossa at Sainte-Marthe de Tarascon and Charles, comte du Maine, in Le Mans.Illustration. Laurana died at Marseille or Avignon, in 1502.
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Between 1770-1773, the retable was completed by friar José de Santo António Ferreira Vilaça, who also designed, the flourishments along the choir, the rosewood pews and the four chapels. Friar José later completed two lateral retables between 1774–1777, while two other retables were completed after him (1777–1780) by José Vilaça. Ironically, by 1785, the church and monastery was practically painted.
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It was restored in 1969 by Maxime Chiquet d'Allancancelles. Both the statue and altarpiece underwent further restoration between 1998 and 2003. In 1993 both the retable and the tomb were classified as historic monuments, and underwent restoration. An extensive assessment and historical study commissioned by the Direction régionale des affaires culturelles in 1998 was followed by a condition assessment and recommendations in 2001.
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Among its interior decorations is a retable which is the work of the Valencian silversmith Pere Bernec. It is divided into three tiers of statuettes and reliefs, framed in canopied niches of cast and hammered silver. A gold and silver altar-frontal was carried off by the French in 1809. The cathedral contains the tombs of Ramon Berenger and his wife.
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No doubt the Germans were anxious to avoid the retable being damaged should the church have been hit again.Altar-piece in Vigneulles-lès-Hattonchâtel French Government Website "Culture". Retrieved 11 March 2013 Casts of this work can be seen in the Musée de sculpture comparée in the Palais du Trocadero in Paris and the Musée Ligier-Richier in Saint-Mihiel.
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The retable, in Flamboyant Gothic style, illustrates the history of Mary and Christ and occupies the whole space of the Romanesque main chapel. It is the best of its kind in the country. The altar is supported by an altar table in Romanesque style. The northern chapel (chapel of Saint Peter) has a Renaissance altar by French sculptor Nicolau Chanterene (early 16th century).
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The church was built in the early 18th century, by order of the Archbishop D. Rodrigo de Moura Teles. It was a project by the leading Portuguese sculptor and architect André Soares. The granite retable-like frontage is exuberantly decorated. Particularly striking is the throne with Saint Mary Magdalene, flanked by two small towers bearing the busts of Saint Martha and Saint Lazarus.
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The Convent of San Plácido (Spanish: Convento de San Plácido) is a convent located in Madrid, Spain. It was declared Bien de Interés Cultural in 1943. The interior of the church was decorated including frescoes in the ceiling of the main chapel by Francisco Rizi and Juan Martín Cabezalero. In the retable of the main altar is an Annunciation by Claudio Coello.
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The sacristy of the Lapa Convent was built behind the wall of the high altar and was the width of the church. This original sacristy, although humbly decorated, once had rich ceiling paintings, a lavabo, and sacristy chest. The original sacristy had a retable designed in 1785 by José Nunes de Santana. It has been missing since the mid-20th century.
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It is known that Álvaro commissioned the sepulchre while he was still alive; a three-dimensional figure of his person was made that consisted in a somewhat strange device—the bronze figure raised up and knelt down by means of a special mechanism activated at the moment the mass started. When he was executed under orders of King John II, the chapel was still under construction so its completion was placed in care of his wife, Juana de Pimentel, and later of his daughter, María de Luna, who commissioned the sculpting of her parents' sarcophagi in 1498. This was the probable year of the chapel's completion by the great company of masters who were the associates of Hanequin de Bruselas. :Retable :The retable is a Gothic altarpiece, the work of Pedro de Gumiel with fourteen panels painted by Sancho de Zamora.
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The church was built in 1408, replacing another Romanesque temple. Inside the temple presides one of the most monumental altarpieces of the Castilian Renaissance art, designed and produced in the fifteenth century by Simón de Colonia and his son Francisco de Colonia The altarpiece dedicated to St. Nicholas is an imposing retable that is unique among its contemporaries in terms of its size and its materials. It is both the largest lay commissioned carved retable from late medieval Burgos and the only altarpiece made from stone that survives from the city's late medieval period This main altarpiece was financed by the Burgos merchant Don Gonzalo Lopez de Polanco prior to his death in 1505. The work measures 15.55 by 9.04 meters and is made of a porous limestone from Hontoria de Cantera, a small town in the province of Burgos.
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In the collegiata, the altarpiece of Pellegrinus II (1195−1204) is a silver retable which had been inscribed in Latin by the means of individual letter punches, 250 years before the invention of modern movable type printing by Johannes Gutenberg.; On 25 June 2011 a part of the historical centre of Cividale (the one belonging to the Lombards era) entered the UNESCO heritage list.
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Corbineau made the high altar of the Carmes de Rennes in 1648. The altarpiece of the high altar of the church\- Retable de Torcé of Torcé is by Corbineau, and dates from 1652. On January 2, 1653, the foundation stone of two altars was laid in Brie. entrepris par honorables hommes Pierre Corbineau, maître architecte du Palais de Rennes, et Gilles Corbineau, son fils.
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It was created in a studio from Brussels and the side panels were painted by the artist Jan Vanden Couteren from Leuven. On these side panels you can find the history of the holy Stefanus, martyr. When the retable is closed, miraculous healings from the Middle Ages are visible. The Ruwaal-walk, a signposted walk brings you to the nicest views of the village and sunken lanes.
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The church is situated in the centre of the small town of São Gião, in a central square, surrounded by historic buildings. Constructed during the Baroque period, it included two panels attributed to the Italian, Pascal Parente, then living in Coimbra. The main retable is attributed to sculptor António Neves and carver Jose Ribeiro da Fonseca from Beiras, in the last part of the 18th century.
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The Church and Convent of Our Lady of the Conception of Lapa was listed as a historic structure by the National Institute of Historic and Artistic Heritage (IPHAN) in 1938. Both the structure and its contents were included in the IPHAN directive under inscription number 79. The carvings and retable by Antônio Mendes da Silva are likely the sole remaining works of the artist.
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The genius of this great carver shows itself in the large variety of the facial expression of those wonderful figures all instinct with life and movement, In France few retables exist outside the museums. In the little church of Marissel, not far from Beauvais, there is a retable consisting of eleven panels, the crucifixion being, of course, the principal subject. And there is a beautiful example from Antwerp in the Muse Cluny, Paris; the pierced tracery work which decorates the upper part being a good example of the style composed of interlacing segments of circles so common on the Continent during late Gothic times and but seldom practised in England. ln Spain the cathedral of Valladolid was famous for its retable, and Alonso Cano and other sculptors frequently used wood for large statuary, which was painted in a very realistic way with the most startlingly lifelike effect.
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The non- English word "retable" therefore often refers to what should in English be called a reredos. The situation is further complicated by the frequent modern addition of free-standing altars in front of the old integrated altar, to allow the celebrant to face the congregation, or be closer to it. Dossal' is another term that may overlap with both retable and reredos; today it usually means an altarpiece painting rising at the back of the altar to which it is attached, or a cloth usually hanging on the wall directly behind the altar. The cognate Spanish term, retablo, refers also to a reredos or retrotabulum, although in the specific context of Mexican folk art it may refer to any two- dimensional depiction (usually a framed painting) of a saint or other Christian religious figure, as contrasted with a bulto, a three-dimensional statue of same.
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The Trénor family has owned it since 1843, although it became a military hospital temporarily during the Spanish Civil War. In 1994, the monastery was declared as an item of cultural interest (BIC), and is now being restored. The doors were opened to the public on May 26, 2005. The restoration work has been carried out on the area behind the church's retable and Nicolas Borrás painting gallery.
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One of the most striking features of the main altarpiece is its double function as a double-faced retable-baldachin, one towards the nave and another towards the choir of the monastic community. It is organized by two bodies with profuse decoration in gold leaf, with salomonic columns, scrolls, pearls, acanthus leaves, small vegetal decoration ... and its iconographic discourse is articulated around the Assumption and Coronation of the Virgin.
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Chinnamasta, a self-decapitated Hindu goddess, is depicted holding her head with three jets of blood spurting out of her bleeding neck, which are drunk by her severed head and two attendants. Saint Miliau, a Christian martyr killed c. 6th century AD, is sometimes represented holding his severed head, as in the retable of the Passion of the Christ at Lampaul-Guimiliau, where blood gushes from his neck.
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The Igreja de Santo Ildefonso is an eighteenth-century church in Porto, Portugal. The church is located near Batalha Square. Completed in 1739, the church was built in a proto-Baroque style and features a retable by the Italian artist Nicolau Nasoni and a façade of 1932 azulejo tilework. The church is named in honour of the Visigoth, Ildephonsus of Toledo, bishop of Toledo from 657 until his death in 667.
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Other works by his hand have not been preserved. In addition to his work as a city painter, Willems carried out various assignments for the clergy. For the Saint Quentin's Church in Leuven, Jan Willems painted the predella and the side panels of a sculpted retable of Saint Quentin, that had been commissioned in 1538 from the Leuven sculptor Joris Asselijns. Willems was also tasked with the polychroming of the sculpture.
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Significant renovation and expansion of the church was conducted between 1820 and 1890. Repairs were made to the south tower and a cornice; running verandas were constructed along the nave. Renovations to the nave included the restoration of a fallen panel, remodeling of the retable of the high altar, the construction of additional altars, and the installation of azulejos. The church again fell into significant disrepair in the 20th century.
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The chapel is also noteworthy for its retable that dates to the period around 1515. Long largely ignored, in 1998 it was ascribed by art historian, Andreas Curtius, to studio colleagues of artist, Hans Baldung Grien, and woodcarver, Hans Wydyz, who were both working in Freiburg at the time.Andreas Curtius: Der Oswaldaltar im Höllental – ein unerkanntes Werk der Baldung-Werkstatt. In: Helmuth Schubert (ed.): St. Oswald im Höllental.
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The main building has several chapels. The Marian Congregation Chapel and the Rectory Chapel were built between 1895 and 1897, largely during this period of construction. A Maria Immaculata painting by Leopold Kupelwieser was installed on the altarpiece at the altar retable, and the windows above the arcades were made by the Tyrolean Glass Painting and Mosaic Institute. The convent chapel contains the travel tale of Napoléon Bonaparte.
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The original retable behind the altar is of stone, consisting of three arches in which the Lord's Prayer and Decalogue are inscribed. The belfry contains three bells, one of which, the treble, is a rare survival of a medieval long-waisted bell. The tenor was cast in 1727 by Abraham Rudhall III and is inscribed "Prosperity to this Parish". The third bell is of similar design and age.
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Interesting to note that during the Great War 1914–1918, the "Squelette" was moved to Paris for its protection and deposited in the cellars of the Panthéon until the end of the war. It was returned to the church in 1920. It was restored in 1969 by Maxime Chiquet d’Alliancelles. In 1993 the retable and the tomb itself were also classified as historic monuments and were also restored.
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The lead font has a circular bowl carried on an octagonal column. It was cast at the Central School of Art and Design in London, and is decorated with leaf patterns and Christian monograms. The pulpit and retable were designed by Wilson, and are constructed from beaten and moulded copper. They are in Arts and Crafts style, the pulpit being decorated with grapes and texts from the Vulgate.
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Main altar The apse is dominated by the imposing red-marbled wooden retable in Baroque style from 1839-1840 by Carl Roesner, replacing the dilapidated old altarpiece. It surrounds the large canvas (720 cm x 430 cm) by Leopold Kuppelwieser (1840), flanked by red Corinthian columns. It depicts the establishment by Pope Pius V of the Feast of the Rosary. The tabernacle dates from 1885 and is made of gilded brass.
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Miliau was famous as a protector and benefactor of the poor, and is represented as dividing his cloak with a beggar, like St Martin of Tours. When he succeeded to the throne, Rivod had him assassinated by decapitation, around 531. A few years later, Rivod eliminated Melar in the same way."Saint Miliau", Nominis Detail from the Retable of the Passion at Lampaul-Guimiliau, showing the martyrdom of St Miliau.
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In the 17th century, the box-ceiling and retable altar was finally installed in the church, along with azulejo tiles in the presbytery. Religious reliquaries were gifted by Pope Paul V in 1620, consisting of artifacts associated with São Caio Papa, São Vital, Santa Teodora and Santa Cristina. Its founder, Luís Falcão, was buried onsite in 1631. Within another 15 years his son, António de Figueirdo Falcão would also be buried.
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The high wall stands along with the old retable (Holy Trinity) as emblematic of the Mother of God, the Saints and Christ in the tabernacle. The smaller cone “bears” Salvation – the Eucharist – the altar and the confession chapel. The church's ceiling surrounds one like the protective mantle of the Mother of God. The pews stand in semicircular rows around the altar, which is a simple table made of red sandstone.
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Krakow High Altar by Veit Stoß: wings with reliefs and altar shrine with wood carvings St. Wolfgang's Church in Schneeberg: painted panels 1540 Gotha panel altar with 157 individual scenes, displayed in the Ducal Museum in Gotha A winged altarpiece (also folding altar) or winged retable is a special form of altarpiece (reredos, occasionally retable), common in Central Europe, in which the fixed shrine or corpus can be enclosed by two (triptych), four (pentaptych) or more (polyptych) movable wings. The technical terms are derived from : trís or "triple"; πέντε: pénte or "five"; πολύς: polýs or "many"; and πτυχή: ptychē or "fold, layer". Because the winged altar can display different scenes on weekdays, Sundays or holidays, based on the motifs and type of decoration (painted panels or reliefs), it is also called a liturgical altar. An altarpiece is often mounted on the altar shrine, but more usually it has a carving (carved altar).
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The pulpit and the retable was crafted in 1773 and 1787 respectively by Johan Edler. The organ was obtained in 1883 and in 1971 a second organ was installed in the chorus. The church has a detached bell tower of which the lower section functions as the entrance way through the wall surrounding the church. The tower is built of wood and was erected between 1804 and 1806, and painted white in 1811.
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Main altar This impressive altar catches the eye with its gilded retable and an elaborate ciborium over it. The artist Joseph Glasser drew his inspiration for the ciborium from examples in Italian Gothic churches, such as the Basilica of St. John Lateran and the Basilica of Saint Paul Outside the Walls, both in Rome. The marble altar is decorated with panels with glass mosaic inlays work. and is supported by six alabaster columns.
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The church was rebuilt in 1950 under the direction of the architect Van den Dael. Today, the Sint-Laurentiuskerk is late Gothic with a neo-gothic main altar with a retable dating from around 1500, depicting six scenes from the Life of Mary. The shutters depict scenes from the life of Saint Laurence. The church contains a church tabernacle from the second half of the 16th century, and two confessionals in baroque style.
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Surrounding the altar was a semicircular wooden balustrade that served as an altar rail, thought to be another contribution of Jacobsen's. There were two figurines on either side of the retable, one of Moses and the other of Aaron. These were donated by local entrepreneur Nicolai Benjamin Aall, brought back from a trip to the Netherlands. The pulpit was located in one of the interior corners of the crucifix, between two arms of the cross.
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Artwork at MNAC Website Comparisons with similar works that survive complete suggest that there were originally several more panels than the eight that now survive, seven in the MNAC and one in the Museu Marès, also in Barcelona. They would have been framed in an elaborate gilt wooden setting as a retable behind the main altar. The grandeur of the work makes it the most important painting of the fifteenth century in Catalonia.
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During the 19th century, some windows were added and new pews installed. The church underwent a renovation in 1964–1965 following a proposal by architect Karl Erik Hjalmarson. Of the furnishings, the triumphal cross, dating from circa 1200 is perhaps the most noteworthy, together with the richly carved baptismal font, complete with substantial traces of original colour, from the same time. A few separate medieval sculptures also survive, originally part of a 14th-century retable.
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The top of the retable in variety of curves and accolades, as well as disproportionality of figures are other features of de Molder's style. Oak wood, used for production, was covered with a coating of gesso (size and chalk) over which gold leaf and colour were laid. The polyptych was commissioned by Brotherhood of Saint Reinhold in Gdańsk and created before 1516 in cooperation with Joos van Cleve who painted the side wings.
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The interior is paved in tiles with remnants of wall murals towards the vaulted ceiling. The fascia, consisting of a false retable, includes a niche carved into the wall, moulded into an arch, over an altar covered in azulejo tile. The azulejos (monochromatic blue-on-white) include representations of two angels holdings scrolls, with a central inscription. The Chapel of Senhor Crucificado (or Chapel of the Ecce Homo), with rectangular plan is covered in tiles.
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The master builders involved with building the nearby Karja church were apparently also at work here, as their builders' marks have been found in the stones used to construct the church. A window in the west wall and the base of the altar dates from this period. Somewhat later are the murals, and considerably later are both the pulpit (1629, by Balthasar Raschky) and the retable (1827). The church suffered damage throughout history.
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One of them was the space's decoration, characterized by an almost complete lack of ornamental design, which characterize the principal values of the Cistercian Order: "simplicity, austerity and pragmatism".Rosas (1987), p. 69 Although the Galician influence of Benedictine churches helped to begin a period of construction, the Cistercian influence inaugurated a new road that would influence 13th century architecture. The chancel which includes vaulted ceiling and broken by a gilded retable.
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Generally the ossuaries have been emptied of their bones. Some of the church buildings exemplify late Gothic architecture, while others are Baroque in style, and a number feature large belfries. The interiors are dominated by sumptuous Baroque decoration and statuary, much of it polychrome. Both the main altar and each of the many side and chapel altars are backed by a large retable, generally focusing on the Passion of Christ or the life and death of a saint.
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It is enclosed with a well-worked screen by Domingo de Céspedes. The chapel contains three interesting retables: the center retable has eleven good Hispano-Flemish panels and a relic of the Holy Face of Jesus, a present from Pope Innocent X, which King Philip IV commanded to be placed here. :Chapel of Saint Ann: has a fine Plateresque screen and contains the tomb of its sponsor, Juan de Mariana. It is one of the smallest chapels.
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Painter Jan Baegert, in earlier literature named the Master of Cappenberg, was his son, and Jan Joest, who may have been his nephew, and the Master of the Schermbecker Altar were probably some of his pupils. Apart from some works for the city and churches of Wesel (including the retable for the Mathenachurch, largely destroyed in the Second World War), he also painted large altar pieces for churches like the Propsteichurch in Dortmund, and works for private devotion.
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Probably the earliest depiction of the Spanish verdugado. Pedro García de Benabarre, Salome from the St John Retable, Catalonia, 1470–1480. Tudor gown showing the line of the Spanish farthingale: portrait of Catherine Parr, 1545. Silhouette of the 1590s: Elizabeth I, the Ditchley portrait A farthingale is one of several structures used under Western European women's clothing in the 16th and 17th centuries to support the skirts in the desired shape and enlarged the lower half of the body.
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The high altar is decorated in a carved-wooden retable, gilded in gold, with an image of Saint Peter over the altar. The naves on either side of the main altar are decorated with carved-wooden chapels covered in gold. In addition, a carved sarcophagus mounted on cavalry, with the statue of Bishop D. Afonso Pires occupies the central nave of the chapel. Although the chapel is open to visitors, photo-taking is restricted by the IGESPAR.
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The style is very influenced by French models. The sculpture of the interior includes the sepulchre of Charles III of Navarre and spouse, by Jehan Lome de Tournai (1419), and the image of Royal Saint Mary, a Romanesque woodcarved silverplated sculpture. The choir, with its Renaissance choir stalls (1541), is separated from the nave by a Gothic iron grating (1517). There was a Renaissance retable (1598) in the presbytery, now in the church of Saint Michael in Pamplona.
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The two tombs (to the left) are decorated with three medallions and busts, above arches with four columns and archivolts. The entablature of the two tombs are covered individually- decorated, triangular caps, with central medallion. Above these structures are two large windows, with semi-circular decoration in the interior. The front of the retable consists of a two-register gilded wood structure with paintings under a central arch, that includes columns, statuary and three sections with semi-circular decoration.
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Retable-type altarpieces are often made up of two or more separate panels created using a technique known as panel painting. The panels can also display reliefs or sculpture in the round, either polychrome or un-painted. It is then called a diptych, triptych or polyptych for two, three, and multiple panels respectively. In the 13th century, each panel was usually surmounted with a pinnacle, but during the Renaissance, single-panel pala altarpieces became the norm.
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Before 1680, Manuel João Fonseca had completed the retable dedicated to Nossa Senhora do Rosário (Our Lady of the Rosary).Ferreira, volume II, p.541 At the beginning of the 18th century, paintings attributed to Bento Coelho da Silveira were also completed. There was an attempt by the religious to enlarge the monastery's area, to the Rua da Infância in São Vicente and contiguous lands, in order to expand the building and the convent's vegetable garden.
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Another comprehensive restoration of the building (under Bürk) and plasterwork investigations (under Jung) took place 1995-1997. This saw inter alia the roof covered with hand-split spruce shingles, ventilation and alarm facilities installed, the walls replastered and the pews restored. The interior of the chapel (altarpiece, retable, Gothic sculptures, processional, etc.) has been restored in keeping with its previous appearance. The outdoor area with its exposed foundations and boulders, as it is today, dates from this period.
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In the sacristy, to the left of the door connecting it to the nave is a steep staircase to the pulpit protected by wooden balustrade, with a small storage area below it. In the main altar there a doorway to storage and windows on either wall, while the space is dominated by a gilded and polychromatic retable in an eclectic Revivalist style. The ceiling of the nave is covered in wood formed to imitate a vaulted ceiling over cornices.
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He entrusted to the native Oratorian Congregation of St. Philip Neri the work of priestly training. This was the first diocesan seminary erected in Asia, after the order passed by the Council of Trent (1563–1578) that all those desiring to dedicate themselves to the ecclesiastical ministry as diocesan (secular) clergy should pass through formation in a seminary. The retable of the altar of the internal Chapel of the seminary bears a picture of Jesus as the Good Shepherd.
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During colonial centuries two trends were clear, which common source was formed by religious topics: culta, highly influenced by metropolitan 17th-century painting counted in the Santa Fe school with outstanding individuals, for instance Baltasar de Figueroa, the head of a painters dynasty, who created and maintained the school where Gregorio Vázquez de Arce y Ceballos (1638–1711), was formed, perhaps the most outstanding person of the time; and popular, formed by more ingenuous painters free from influences of the time, who did not belong to any school. They interpreted biblical scenes, the life of saints and Christ and the Virgin life episodes in carved wood or painted but in a more free style. Wood carving is highly positioned within plastic production of the time and the maximum expression is found in retable adorning most Colombian churches, for instance San Francisco church main altar retable, mostly carved by Ignacio García de Ascucha. Pedro Laboria, Spaniard formed in Seville art schools who came to Bogotá, very young and lived here the rest of his life is one of the outstanding sculptors.
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Cranach the Elder's Altarpiece at Wittenberg. An early Lutheran work depicting leading Reformers as Apostles at the Last Supper. Altar piece in St. Martin's Cathedral, Utrecht, attacked by Calvinists in the Beeldenstorm in 1566. This retable became visible again after restoration in 1919 removed the false wall placed in front of it. The Protestant Reformation was a religious movement that occurred in Western Europe during the 16th century that resulted in a divide in Christianity between Roman Catholics and Protestants.
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An innovative collective project to heat all homes with wood has been designed but not implemented due to lack of funding. After the rehabilitation of roads, public lighting, water system and the church (Retable over the nave refurbished) over 3 years to 2010, the commune started the renovation of the hall as well as the walls of two lavoirs (public laundries).Arrentières: a village which goes ahead , 4 January 2011, L'Est-Éclair daily newspaper website, consulted on 5 March 2014 .
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Above the main altar is the retable, in which is the icon enshrined behind protective glass. There are verandas inside the church which makes the shrine elegant. At the back of the church are staircases leading to a window exactly at the back of the Virgin Mary wherein devotees can touch the dress of Our Lady. Surrounding the basilica stand the Piat Basilica Museum, blessing sites for religious items, parish convent, and life-sized representations of the Stations of the Cross.
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The two-storey frontispiece is divided into three sections, with the left unit simple with windows and framed doorways and cornerstones. The central section, is inset, preceded by a three-flight staircase with two wings that connect to various sections. In it is the chapel, marked on the exterior by a cornice over pilaster and bell tower with cross over tile, surmounted by rectangular door interrupted by a frontispiece and window. The chapel includes a high-choir and retable with gilded woodwork.
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Norwich Cathedral has a fine selection of 61 misericords, dating from three periods — 1480, 1515 and mid-19th century. The subject matter is varied; mythological, everyday subjects and portraits. In St Luke's Chapel, behind the altar is a late 14th century painting, known as the Despenser Retable, named after the Bishop of Norwich, Henry le Despenser (1369–1406). During the Peasants' Revolt of 1381, Despenser's forces successfully contained the revolt in Norfolk and the painting was probably commissioned in thanksgiving.
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The small, thatched St Mary's Church is a Grade I listed building. It has early 14th century wall paintings, on the south wall, the early years of Christ and on the north wall, the martyrdom of St Edmund. There is a circular window in the west wall of the nave that is said to be late Anglo-Saxon as well as the famous retable. Architect Basil Spence died in 1976 at his home at Yaxley, Suffolk and was buried at Thornham Parva.
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King João III probably brought Chanterene with him to his court in Lisbon in 1527. He came here in contact with the new artistic developments in Europe by studying architectural treatises and imported engravings. This manifests itself clearly in the magnificent marble and alabaster retable of the chapel Nossa Senhora da Pena in the Pena National Palace in Sintra. It is generally recognized as his finest work through its composition and the exquisite carving, showing already first signs of Mannerism.
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These included Filipe Odarte, who was responsible for the main church,Vitor Serrão (2002), p.154 and sculptures by Hodart (exterior carvings) and João de Ruão (retable and tomb sculptures), as well as the family coat-of- arms of D. Diogo de Sousa (in the portico). In 1530, a brotherhood was instituted support the services in the chapel. In 1906, the Palacete of the Coimbras was demolished, due to the redesign of urban space, creating the Largo São João do Souto.
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The southern chapel of the apse was totally rebuilt in high Renaissance style and contains a magnificent retable featuring Jesus and the Apostles. The altar was finished around 1566 and is the work of João de Ruão (Jean of Rouen). In the 1530s, the same artist had built the Porta Especiosa in the North façade. The transept has a nice baptismal font in Gothic- Renaissance style (1520-1540), from the church of Saint John of Almedina (São João de Almedina).
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The Litoměřice Altarpiece (1505-1507) was a large altar retable, in all likelihood with two pairs of movable wings and two pairs of fixed ones. From these wings, six panels have survived, two of which are painted on both sides. The movable wings on the left-hand side of the altar are presumed lost. The altar wing depicting Christ on the Mount of Olives belongs to the Diocese of Litoměřice, while the other panels are owned by the Regional Museum in Litoměřice.
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Colum Hourihane, The Grove Encyclopedia of Medieval Art and Architecture (Oxford University Press 2012), Volume 1, p. 44 The term "altarpiece" is applied very widely to them. A reredos is normally a quite large altarpiece placed on the ground between the altar and the wall and can include paintings or sculptures and may even hold stands for flowers and candlesticks. A retable is normally placed on the altar itself or on a stand behind it or may be attached to the wall.
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Instead of the usual Last Judgement, this depicts the Second Coming, the triumphant return of Christ, and the General Resurrection. A 2.1 metre Christ, his arms spread in the form of a cross, is flanked by the 12 Apostles, while angels above him carry the crown and nails. Meanwhile, other angels sound the trumpet to summon up the dead. Another notable feature is a fine baroque retable in gilded wood, dating from 1678, shortly after the refounding of the abbey.
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The first church, under the name of Saint-Sauveur, was consecrated on October 7, 1086. Then in 1182, Baldwin V, Count of Hainaut, laid the foundation stone of the new church to be consecrated on October 23, 1250. Its dimensions are 105 meters long and 26 meters wide with a height of 26 meters, its four towers culminating at 56 meters . After the Revolution, the Church tabernacle of the Anchin abbey is kept in the Hôpital-Général de Douai, and La Trinité, or Retable of Anchin.
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The square sacristy, a structure extending from the northern façade of the church, contains a cross-ribbed vaulted ceiling from the 15th century. Within the nave there is a baroque wooden pulpit of 1690 with a decorative pulpit ceiling. The retable, created in 1656 and restored in 1958, is structured by columns and tuberous ornaments () on the edges (Wangen) and surrounding portrait medaillons, which display Moses and John the Baptist. Baptismal font The baptismal font of 1695 consists of a sandstone bowl carried by a putto statue.
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Chapel of Saint Leocadia: has a lattice of stone worked in Flamboyant style. It served as a burial chapel for the canon Juan Ruiz Ribera who commissioned its restoration in 1536; his ashes are in an urn located inside a niche. His uncle Juan Ruiz the Elder is buried in the front wall . In the retable may be found the namesake image of Saint Leocadia, a painting of the 18th century by Ramón Seyro (student of Mariano Salvador Maella), framed in white and black marblework.
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Between 1571 and 1616 it was its parish priest, Father Manuel Fernandes Velho, who was captured and imprisoned by Barbary coast pirates, when they raided the island. In his testament Tétouan, this clergyman left a moio of wheat to his church, in order to gild the retable at the time of its remodeling. In 1661 the parishioners were challenged to expand the church, and were directed to the Mesa da Consiência e Ordens (Bureau of Awareness and Orders) in order to obtain an eight bell carillon.
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He was created cardinal 19 December 1539 and bishop of Besançon, 29 December 1541He resigned the see in favor of his nephew, 27 June 1543 (Miranda). He was a courtier of Charles V, Holy Roman Emperor, who made him a Prince of the Empire.La Chesnaye des Bois; Miranda. Survivals of La Baume's taste as a patron are the predella panels of the grand retable he commissioned for the abbey of Saint-Oyend at Condat, today the cathedral of Saint-Pierre, Saint-Paul et Saint-André.
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However, the decision was made to retain the 1960s reredos instead of reinstating the original high altar. However, the tabernacle was returned to its rightful place at the centre of the church, and a new retable was built for it. On either side of the main altar are doors that lead to the sacristy. A new altar table was also installed, of white marble and a more sympathetic design than the previous one, with a roundel containing a depiction of the Agnus Dei at its centre.
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The Church of Saint-Étienne was remodeled in the 16th century and has a 17th-century gilded-wood retable, which was recently restored. The village is also the site of the Chartreuse du Pastissé (also private property), where Jean-Joseph Dessolles, (1767-1828) lived. On the northern part of the commune is the hamlet of Gaudoux, a former fief and later separate commune, which was joined to Preignan in 1821. Gerald VI, the Count of Armagnac, granted the hamlet a charter (charte de coutumes) in 1276.
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The central nave is surmounted by an octagonal dome, whose exterior is decorated with fugres resembling Inca Indians. The interior of the church has a rich Baroque decoration sith stuccoes and gold patina. The Chapel of the Dulce Nombre de Jesús has another work by Roldán and a Christ Reborn by Jerónimo Hernández. The high altar is in Baroque style (18th century), with sculptures by Pedro Duque y Cornejo and Francisco de Ocampo, while the retable of the Assumption was executed by Juan de Mesa.
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Retable The church was built in dark basalt stone by Pisan workers (the island in the Middle Ages was under strong influence from the maritime Republic of Pisa). The façade is divided into five sectors and has a salient-shaped façade. In the middle is the portal, surmounted by a double mullioned window. The whole exterior of the edifice is characterized by false columns (lesenes) and Lombard bands; on the right are the remains of the square bell tower, which is missing the upper part.
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At the foot of the main chapel, in an elevated space is the retable which (similar to the lateral retables) is decorated in Revivalist gilded and painted woodwork, which is almost Neoclassic in its style. The vaulted ceiling and walls are painted in figurative panels encircled by decorative motifs. The ceilings of the three naves, chapel, sacristy and lateral chapel (storage) are constructed in wood producing a vaulted appearance, supported by large cornices. The ceilings of the naves and sacristy are painted in blue.
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Three years later, on 31 October 1609, with the solemn celebration of the Vespers, the "College of All Saints" (Colégio de Todos os Santos) was blessed and inaugurated. Somewhere between 1622 and 1640, the name of the College was changed to "College of St. Ignatius" (Colégio de S. Inácio). The change was to pay homage to St. Ignatius of Loyola, the founder of the Jesuit Order, who had been canonised in 1622. The retable of the main altar of the Seminary Church testifies to this fact.
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The outermost sections contained single figures, to the left St Peter, dedicatee of the Abbey and the best preserved single figure, with the figure to the right now missing completely; according to George Vertue this was St. Paul., Tudor-Craig, 103. These sidemost panels were evidently added when most of the retable had been completed, and are of German rather than local Thames Valley oak, and the grain runs vertically, rather than horizontally as on the four panels making up the central three sections.
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Over the next decade various alternatives were considered and by 1980 the arrangement currently in place had been agreed upon. Detailed plans were also prepared for the separation of the mensa from the retable of the high altar to create an altar that could be moved closer to the Nave. A new front was also planned for the remnant of the high altar. Complete removal of the high altar was also considered with plans being prepared for relocation of the tabernacle into a niche within the western wall of the former nuns' chancel.
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A gilded retable stands above the altar, at the bottom of which is the tabernacle, flanked by enameled panels depicting two scenes from the Old Testament: the Sacrifice of Isaac and the dream of Joseph. Above the tabernacle is a niche with a crucifix. Niches surrounding the tabernacle contain statues of angels and various saints. These are: on the left side, statues of the patron saints of the church, Charles Borromeo, and of the founder, Maximilian of Lorch; on the right side, Hilary of Poitiers and Bernard of Clairvaux.
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In the right nave, the seated Madonna and Child (Sedes Sapientiae) is a wooden polychrome sculpture of the early 14th century. Carried each year during the procession, two venerated wooden statues, made around 1900 and representing Jesus on the Cold Stone and the Pieta are displayed. At the left of the choir, the chapel of Saint Yves was added in 1504 and houses the relics of Saint Basil and of Blessed Charles the Good, Count of Flanders. The black marble retable is allegedly executed from designs by Lancelot Blondeel.
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51–52 Those few documents that were saved, were incorporated into the archives of Andlau Abbey, all of which were destroyed during the French Revolution.Bernard Metz, S.H.V.V. , n° 3, 1978 - Notes sur l'histoire d'Urbeis et ses rapports avec Fouchy, p. 115 While the peasants were sacking the abbey, a particularly valuable retable, which seems certainly to have been a work of the sculptor Sixtus Schultheiss (d. 1527), was somehow transferred to the church of Villé, where Volcyr de Serouville, secretary to Antoine, Duke of Lorraine, took an interest in it.
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As is characteristic of many of Joen Jacobsen's churches, the church had a wooden barrel vault ceiling, and it was painted with depictions of the sky and angels. The altarpiece was built in 1890 and painted with an image of Jesus on the cross by esteemed Norwegian romantic nationalist painter Axel Ender. The retable that framed the altarpiece was donated by Niels Aall. It was in Baroque style, with two Ionic order pilasters on either side and above it an arched architectural motif superimposed with a cloud shining light to represent God.
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Between 1974 and 1977 the church was carefully dismantled and restored before being rebuilt in Svätý Kríž, where it was reconsecrated in 1982. The churches in Kežmarok, Leštiny and Hronsek are now part of a UNESCO World Heritage Site called Wooden churches of the Slovak Carpathians, declared in 2008. The articular church at Spišská Nová Ves was dismantled in 1924, but some of its decorations, including a 17th-century retable depicting the mines and miners who brought the Spiš region much of its wealth, are preserved in the museum at Spišská Sobota.
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In adjacent Matzelsdorf is the small pilgrimage church Maria Schnee (Our Lady of the Snows), which was first mentioned in 1177. The small but richly decorated nave has a Late Gothic lierne vault from the 16th century and Baroque frescoes of the Madonna from about 1716. The retable of the altar with a carving work of the coronation of Mary probably originates from around 1500. Near Laubendorf is the foundation of a small Early Christian church from the 5th century, which has been preserved in quite good condition.
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Opposite the internal doors, in the south wall, there is a plain pointed priest's door with cut stone voussoirs, by Seddon, with wrought iron hinges. Priests’ door in chancel, south side The 1880s Seddon high altar has a fine reredos across the east wall in red sandstone and white marble. There is red stone outer wall-panelling in squares of rose and vine, in a moulded frame. A white marble shelf or Retable on brackets over pink marble framing is behind the altar, with outer panels of white marble with a cross on vine background.
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The high altar of Domalain was built in 1637 by Corbineau.\- Retable et gradin d'autel de Domalain The altarpiece has the same structure as the one of the église de la Trinité de Laval. The altarpiece of the main altar of the Saint-Pierre of Piré-sur-Seiche church, representative of the Laval school. Corbineau made a deal with the inhabitants of Piré-sur-Seiche on December 12, 1637, to build two altars in their church where, in 1631, he had already raised a high altar that still remains.
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Pietà by Hans von Judenburg, parish church of Bolzano Hans von Judenburg was an Austrian painter and sculptor active between 1411 and 1424. Very little is known of his life; in 1411, and again in 1424, he was listed as a householder in Judenburg. He ran an artists' studio there as well; it was devoted primarily to the creation of altarpieces. He is known to have created a retable for the high altar of the parish church of Bolzano (then Bozen), contracted in 1421 and finished three years later.
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The appearance of stylistic Europeanized elements shows its own way to differentiate and highlight the church's building. The strong shaking of the 1930s earthquake weakened the original vaulted roof which forced to substitute it with trusses and zinc sheets; thus, the spatial quality of the unique nave, which was built with thick adobe walls, was altered. The transept arms and the apse conserved the dome built over wooden beams, which were supported by half point arches. The end of the apse is covered by a construction of retable, which is common in all the valley.
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But the influence of the Limburgian tradition on the atmosphere in the hermitage remains clearly noticeable through the various additions from popular devotions, such as praying the Rosary and various litanies, which are sung at various moments during the day, out loud. The chapel's decorations also betray a continuation of 17th century examples, through Baroque elements. The devotion to Saint Gerlach of Houthem, of whom there is a reliquary in the retable of the right side altar, has a special place in the hermitage. Saint Anthony Abbot is also especially honoured.
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But these life-size statues are now badly damaged In 1522 he got a commission for a retable in Ançã limestone (a local limestone) for the Monastery of São Marcos de Tentúgal (near Coimbra). He depicts, just as in the Belém portal, the kneeling figures of the donors, but this time in Renaissance style. He probably only sculpted the principal figures : chief justice Aires Gomes da Silva and his wife Guiomar de Castro. The figures in the “Deposition of Christ” were modelled by him in clay, leaving the carving to his assistants.
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Mexican oil paint on tin retablo of 'Our Lady of Guadalupe', 19th century, El Paso Museum of Art A retablo is a devotional painting, especially a small popular or folk art one using iconography derived from traditional Catholic church art. More generally retablo is also the Spanish term for a retable or reredos above an altar, whether a large altarpiece painting or an elaborate wooden structure with sculptures. Typically this includes painting, sculpture or a combination of the two, and an elaborate framework enclosing it. The Latin etymology of the Spanish word means "board behind".
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Project for a retable with an allegory of the venarable third order, drawing from 1663, now in the Museum of Fine Arts of Córdoba Antonio García Reinoso (1623–1677), a Spanish painter, was born at Granada,"Ángeles con relicarios". Ceres, Digital network of collections at Spanish museums. and studied under Sebastián Martínez Domedel, an artist of some eminence, at Jaen. He painted landscapes and historical subjects; and there are several of his works noticed by Palomino, particularly an altarpiece in the church of the Capuchins at Andújar, representing the Trinity, with several Saints.
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The use of the cloak from the earlier painting probably played a large part in the composition of the new painting. Titian is believed to have made another version of this Venus for the Venetian lawyer Niccolo Crasso, who also commissioned Titian to paint the Retable of Saint Nicholas de Bari at about the same time. A drawing of the other version was included by Anthony van Dyck in the sketchbook made during his trip to Italy. This other version is now lost, but a studio copy exists in the Hermitage Museum.
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During the 1920s, an image of Santa Maria Madalena still existed in a niche near the gate, but eventually collected by the state and stored in the Pena National Palace. Much later, images of Santo António and São Francisco, located in the retable in the church, and two candelabras were stolen from the site. For this reason, security and a degradation of the site, the property was closed to the public in 1998. Yet, in August 1998, the site was assaulted and robbed of several images and sculptures.
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There were lateral altars dedicated to Santo António and São Sebastião, with painted sculptures, in addition to images of Santa Catarina and São Sebastião. On 10 October 1537, Father António Lisboa visited the site and noted that there was an exterior doorway with awning, supported by five columns, 6 varas high. The chapel had 4 varas length and 4 wide, covered in azulejo tile, that included an old retable with a painting of the Virgin Mary, surmounted by red twill canopy. Alongside the chapel they constructed a sacristy, with collateral altars and painted wood.
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Church alt= la nef de l'église de Boljoon depuis l'entrée sept 2019 la nef de l'église de Boljoon sept 2019 retable de l'église de Boljoon sept 2019 The main retablo is in pseudo-baroque rococo with gold leaf highlights and polychrome accents. Located on the central niche of the main altar is the image of Boljoon's patron, Our Lady of Patrocinio, brought by Father Bartolome de Garcia from Spain in 1599. A side chapel located on the left side of the church is also dedicated to the patron.
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He entrusted to the native Oratorian Congregation of St. Philip Neri the work of priestly training. This was the first diocesan seminary erected in Asia, after the order passed by the Council of Trent (1563–1578) that all those desiring to dedicate themselves to the ecclesiastical ministry as diocesan (secular) clergy should pass through formation in a seminary. The retable of the altar of the internal Chapel of the seminary bears an inspiring picture of Jesus, the Good Shepherd. The Church, however, continued under the invocation of St. Ignatius of Loyola.
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The two wings contained the servants rooms: sleeping quarters, stables, and greenhouses, placed where they could be watched by the master of the house. Where the wings join the main body of the house are the kitchens on the right and on the left the chapel, the altar still displaying its original retable. From the centre of the wings arched passages arched lead out: on the right to the gardens and on the left to the farmyard. The two entrances provide both convenience and break the monotony of the formal lines.
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After the Dissolution of the monasteries at the English Reformation, the retable panel was made into the lid of a chest, with the main painted side facing down. The chest was used to store wax funeral effigies of English monarchs, and the painting was not rediscovered until 1725, when it was drawn by Vertue (British Library). In 1778 serious damage was caused when the chest was modified into a cupboard or display case to show the funeral effigy of Pitt the Elder.Bunny Smedley, website of The Social Affairs Unit, with a fuller description.
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Some of the extremely rare survivals of English medieval panel paintings, like the Westminster Retable and Wilton Diptych (the artist's nationality here is uncertain), are of the highest quality. Wall-paintings were very common in both churches and palaces, but now very little survives. There was an industry producing Nottingham alabaster reliefs, made in Nottingham, but also Burton-on-Trent, Coventry, and perhaps Lincoln and London, ranging from commissioned altarpieces to single figures and narrative panels, which were exported across Europe.; English monumental carving in stone and wood was often of very high quality, and much of it survived the Reformation.
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The agreement concerned the transportation of a carved wooden altarpiece now in the Petrikirche, Dortmund. It is believed that van Overbeke had created the altarpiece together with the sculptor Jan Wraghe pursuant to another contract with the Franciscans of Dortmund. This altarpiece is believed to be the large retable that was moved to the Saint Peter's Church (Petrikirche) in Dortmund in 1809. It is referred to colloquially as das Goldene Wunder ('The golden miracle') due to the golden color of the polychromed sculptures. In 1522 van Overbeke had two pupils, Goyvaert van Roye and a Jeronimus (last name not recorded).
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This judgment, founded as was afterwards admitted on insufficient knowledge, produced no effect. In the absence of any authoritative negative pronouncement, churches returned to practically the whole ceremonial use of lights as practised in the Roman Catholic Church. The matter was again raised in the case of Read and others v. the Bishop of Lincoln, one of the counts of the indictment being that the bishop had, during the celebration of Holy Communion, allowed two candles to be alight on a shelf or retable behind the communion table when they were not necessary for giving light.
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The documents also show that Huguet was not paid as originally promised and did not receive his full sum until 1488, when he was still owed 200 lliures. The reasons for the delay are unknown, but there a couple conjectures as to what happened. One is that the Constable Dom Pedro arrived six weeks after the contract was drawn up and engaged Huguet to paint him a retable, which would have taken precedence over that of the guild. It could also be that the guild lost interest or had a lack of finances that temporarily halted the project.
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Animal groups like the Canadian Federation of Humane Societies strongly opposed this bill with the support of a petition, containing almost 112,000 signatures from the Canadian public. While S-24 did increase the penalties for misconduct (the penalties section was taken from the Liberal government bill that had not yet passed), it fell short of much-needed updates to the list of offences. Bryden had to retable the bill as, like the others, it repeatedly died due to prorogation. Bryden's bill ultimately passed through the Senate and House of Commons of Canada as Bill S-203, enacted in June 2008.
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The retable of the church, with wood-gilded altarpiece In masonry stone plastered and whitewashed, the church consists of a main rectangular nave, chancel, bell- tower and several corps corresponding to the baptistery, the chapels, sacristy and false transept. The facade faces the Caminho Velho, with the curvilinear frontispiece marked by the main portico and surmounted by window, with gross pinnacles on either corners. A cornice that separates the frontispiece and pinnacles on the facade accompany the curve of the archway to the corners. The doorway is limited by portico of vertical pilasters, salient cornices and embedded pinnacles.
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John the Baptist's figure might seem more obscure, but the benefactors of the Dominican Priory at Thetford, John de Warenne, 7th Earl of Surrey and Edmund Gonville would have expected their namesakes to be part of the finished painting. The retable returned to Thornham Parva church in 2003, following eight years of restoration by the Hamilton Kerr Institute in Cambridge. Using sturgeon glue, applied with tiny dabs of cotton buds, inch by inch the layers of grime were removed to reveal rich gold and glowing autumnal palette of translucent reds, purples and greens which the original artist used.
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An altarpiece by Carl Timoleon von Neff at the Helsinki Cathedral The usage and treatment of altarpieces were never formalised by the Catholic Church, and therefore their appearance can vary significantly. Occasionally, the demarcation between what constitutes the altarpiece and what constitutes other forms of decoration can be unclear. Altarpieces can still broadly be divided into two types, the reredos, which signifies a large and often complex wooden or stone altarpiece, and the retable, an altarpiece with panels either painted or with reliefs. Retables are placed directly on the altar or on a surface behind it; a reredos typically rises from the floor.
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Retable by the Master of Castelsardo, church of San Pietro, Tuili The Master of Castelsardo was a painter active in Sardinia at the end of the 15th and the beginning of the sixteenth century. His name comes from a painting of the Madonna and Child currently in the cathedral of Castelsardo; other than that, the Master's identity is unknown: he has been associated by some either with Gioacchino Cavaro, a Sardinian artist from Cagliari,L'Italia Vol.16: Sardegna - Touring Editore, edizione 2005 a cura di Repubblica, pagina 148. or with Martì Tornèr, a Majorcan artist of Valencian descent.
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Analysis of the surviving panels of this altarpiece, now in the Prado, confirms this, as the other extant lateral narratives are in the coarser style associated with Bernat. ). Bermejo’s excommunication was revoked shortly after the signing of the second contract, and it was duly completed. He and Bernat continued to collaborate in Zaragoza, notably in the Altarpiece of the Virgin of the Snows for Juan Lobera for the latter's chapel in the church of El Pilar.(1479). In 1482-3, Bermejo was part of a team (which also included Bernat) that reapplied the polychromy on the alabaster High Altar Retable of Zaragoza Cathedral.
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Eight large stained glass windows were installed between 1903 and 1913, along with a new pulpit, altar and retable, all of which were given as memorials. Another improvement was "the placing of double windows on the King-street side to shut out the sound of the traffic, which hitherto has been a serious annoyance to both the officiating clergymen and the congregation". In 1897, St James' Hall was offered to Dorotheos Bakalliarios, a Greek Orthodox priest from Samos for Orthodox services in Sydney. In 1904 the diocesan architect, John Burcham Clamp, was employed to design a new parish hall.
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At the turn of the 15th to the 16th century, Bishop Jorge de Almeida sponsored a major decorative campaign. The columns and walls of the aisles were covered with tiles from Seville, which bear multi-coloured geometric motifs reminiscent of Arab art. Most have been removed but many remain, especially in the wall to the left of the entrance of the Cathedral, as well as in many chapels and funerary monuments. Another important addition was the huge wooden retable of the main chapel, carved between 1498 and 1502 by Flemish artists Olivier de Gand and Jean d'Ypres.
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When the altarpiece was opened, it would show the Passion of Christ and, when closed, it would show scenes from the life of Mary: the Visitation of the Virgin Mary and the Birth of Christ. The overall width of the open altarpiece would be about 5.5 metres which is why Luksch considered that the panels might not have created an altarpiece but could, alternatively, have been individual Stations of the Cross.Haragová V, 2009, p. 100 The art historian Jaroslav Pešina attempted a different reconstruction of the altarpiece on the basis of a comparison with the altar retable from the castle chapel at Křivoklát.
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The St Catherine Altarpiece (an altarpiece with pictures of the legend of St Catherine of Alexandria) is a set of panel paintings from the period around 1515I. Lübbeke, in: Altdeutsche Bilder der Sammlung Georg Schäfer, exhibition catalogue, Schweinfurt 1985, pp. 102-105 that is ascribed to the workshop of the Master of the Litoměřice Altarpiece. A total of six panel paintings survive from the original retable: one wing painted on both sides and two panels painted on one side in the collection of the National Gallery in Prague and two panels in the private collection of G. Schäfer (Schweinfurt).
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Between October and November, a new panel was complete for the Hall of Audiences, painted by Inácio Ferraz de Figueiroa. A similar work was painted in the retable for the assembly hall, by Figueiroa on 1 August 1607. There is a reference to the Conserto em algumas janelas da Casa da Câmara (referring to the repair of windows in the House) in 1766, as well as the 1767, repairs to the roofing. In 1770, master Manuel Pinto Geraldo began repairs to the roof, starting a period of minor repairs. José Luís de Oliveira, repaired the glazed windows in 1774.
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His name is derived from a retable of Saint Michael dating to about 1440, now in the Museo del Prado in Madrid; this was once the main altarpiece of the church of Arguis. The painting depicts the victory of Michael over the Antichrist, and focuses primarily on the latter figure, pierced with a lance. Included in the scene are various secular figures, including kings and noblemen, as well as religious figures. At the bottom of the image may be seen a papal tiara and sceptre, symbols of the power the Antichrist claims to wield as the new Messiah.
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According to Vincenc Kramář, the altarpiece was made in 1515 in connection with the engagement between Ferdinand I and Anna Jagiellon.Kramář, 1939, quoted by Hamsíková M, 2011, p. 92 According to other historians, it could have been commissioned for the coronation of Mary of Habsburg as Queen of Bohemia in 1522.Hořejší J, Vacková J,1973 K. Chamonikola concludes that Emperor Maximilian I had the retable painted to represent the House of Habsburg, whose members were portrayed in the form of female saints in the manner of the ‘sacred identification portrait’.Chamonikola K, 2005, pp. 18–22.
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There are some works of art in the monastery, for example a 16th-century retable in Renaissance style. However, it is perhaps better known for its association with works that have been removed. Following the closure of the monastery in the 1830s, some of its works of art were moved to Madrid where they were stored in a monastery at Atocha. In the 1870s they were moved again to the Royal Gallery of El Prado in Madrid, where they were stored with little further research, although one painting, the Fountain of Life, also known as the Fountain of Grace, attracted particular interest.
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It has "powerful" baroque-style Solomonic columns, four on each side of its central part, surmounted by a canopy in the form of a crown, supported by figures of caryatids. The retable has numerous rococo design features, including angels, cherubs, phytomorphic elements, and tassels. The ceiling of the chancel is painted and image of the Virgin Mary superimposed Holy Trinity, as well as religious figures receiving the habit of the Conceptionist order. The chancel and high altar of the Church of Lapa, unlike other churches of Bahia, was not renovated in the Neoclassical style; its elements are original to the structure.
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Following the city's return to Christian rule during Reconquista, the episcopal see was restored in 1045. Construction of the current building began in 1484 in the Gothic style, but gained several other influences over the next centuries, the facade and interior decorations being examples of Baroque. The main work on the cathedral was done by the 18th Century, with the last element added being the retable of the main altar, in 1904, after the original one was destroyed during a fire in 1900. It is part of the Roman Catholic Diocese of Calahorra y La Calzada-Logroño.
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The altarpiece is recorded in Buhl since 1835. The current parish church, a Neo-Romanesque building with a long and imposing nave and a short and narrow choir (in which the altarpiece is displayed) was built in three phases between 1868 and 1899. The altarpiece left Buhl twice, once during World War II, when it was hidden in Périgueux and once from 1966 until 1971, when it was restored in Paris, then displayed in the Unterlinden Museum in Colmar. A local association of the "Friends of the Buhl Altarpiece" (Amis du retable de Buhl) was founded in 1988.
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Berno was confirmed as abbot in 895 by Pope Formosus, who took it and all its lands under the protection of the Holy See, asserting the right of the community to elect their own abbot, and threatening with excommunication any lay lord who might attach its lands and revenues; Berno took the prudent step of placing Baume under the secular patronage of Rudolph I of Burgundy. The sixteenth-century retable. About 909, Odo with his noble companion Adegrin, found Baume and became a monk, priest, and then superior of the abbey school, bringing with him a library of 100 books.Prost 1872:40.
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The upper orders of the corner towers were built between the 14th and the 15th centuries, while in the early Renaissance period the southern porch was added. The present neoclassical appearance dates from the work carried out over the two decades 1781 to 1801, supervised by Ferdinando Fuga and Giuseppe Venanzio Marvuglia. During this period the great retable by Gagini, decorated with statues, friezes and reliefs, was destroyed and the sculptures moved to different parts of the basilica. Also by Fuga are the great dome emerging from the main body of the building, and the smaller domes covering the aisles' ceilings.
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During the 19th century, most of the 17th-century interior was hastily replaced, including both the southern and northern galleries, the retable, and the organ gallery. Complaints from the parish regarding the now dark church, caused the galleries to be rebuilt again in 1825. The church started using central heating in 1850 and gas lighting in 1862 – the 1.450 flames exceeding any other church in Stockholm. All these modifications were, however, restored by the work of Carl Möller who favoured a Romantic Nationalistic Neo- Renaissance style in Sweden called Vasa-renässans and Agi Lindegren who worked in a multitude of styles adopted to various contexts.
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Canon Strzesz mentions the Beautiful Madonna as a part of a larger altar retable placed at the eastern wall of the northern nave where today a copy of the Madonna is located on the original console with Moses. In 1921, Jan Rutkowski subjected the sculpture to conservation procedures, removing subsequent repainting, but leaving traces of medieval polychromy. In 1942, German conservators renovated the sculpture again, filling in the cavities, and two years later the statue was removed from the console and deposited in the conservation depot in Grębocin. Fearing the approaching Red Army, the statue was taken from the depot to an unknown location, most probably deep into Germany.
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The ambulatory is surrounded with a triforium. It contains nine side chapels and five large, richly decorated panels with reliefs (attributed to Lucas Giraldo and Vasco dela Zarza). The middle panel is an alabaster piece, with a wealth of detail and structured like a retable, by Vasco de la Zarza and accommodates the tomb of Alonso de Madrigal, also named "El Tostado", a bishop of Ávila. The cathedral museum, located in the sacristies, houses a large number of works of art, among which the portrait of the knight Don Garci Báñez de Muxica by El Greco and the chalice and paten of Saint Secundus.
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It is a Venetian Gothic building, finished in the 16th century by architect Pietro Lombardo, featuring interventions from the 18th century also. The interior houses an altar dedicated to the Madonna, in the right aisle, and the altarpiece of patriarch Pellegrino II (1195−1204), a silver retable which had been inscribed in Latin by the means of individual letter punches,Brekle, Herbert E.: Die typographische Herstellungstechnik der Inschriften auf dem silbernen Altaraufsatz im Dom von Cividale, Regensburg 2011 250 years before the invention of modern movable type printing by Johannes Gutenberg.; The Christian Museum annexed to the Duomo houses outstanding examples of Lombard sculpture.
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The poem mentions in passing that he was a fadrí or bachelor at the time. See Josep Romeu i Figueras (1994), Lectura de textos medievals i renaixentistes (Valencia: Universitat de València), 83-84, for an analysis of Móger's dates. Móger painted an "angel concert"-themed altarpiece, with two musicians on the lute and rebec, in an unknown year.Kenneth Kreitner (1995), "Music in the Corpus Christi Procession of Fifteenth-Century Barcelona", Early Music History, 14, 199. In 1438 Móger was commissioned to incorporate an Early Netherlandish imago pietatis into the predella of the retable of the high altar in the church of Santa Eulàlia in the Ciutat.
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The main altar was produced in Antwerp in 1520 and is composed of a shrine with painted wings. On a total of 12 painted panels on the front and reverse sides of the retable, the viewer is presented with the story of Christ through to his resurrection and the Outpouring of the Holy Spirit on Whitsun. The carved central section of the main altar portrays the Annunciation, the Visitation, the birth, the Adoration, the Circumcision and the presentation in the Temple on six small alcoves. In three discourses the Passion of Jesus is thereby presented: the bearing of the cross, the crucifixion and the Descent from the Cross.
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The exhibits included a unique collection of royal and other funeral effigies (funeral saddle, helm and shield of Henry V), together with other treasures, including some panels of medieval glass, 12th-century sculpture fragments, Mary II's coronation chair and replicas of the coronation regalia. There also were effigies of Edward III, Henry VII and his queen, Elizabeth of York, Charles II, William III, Mary II and Queen Anne. A later addition to the display was the late 13th-century Westminster Retable, England's oldest altarpiece, which was most probably designed for the High Altar of the Abbey. Although damaged in past centuries, the panel was expertly cleaned and conserved.
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Several shields, in the border of the painting, are associated with others who led the attack on the peasants. The retable was re-discovered in 1847, having been reversed and used as a table top. The copper baptismal font, standing on a moveable base in the nave, was fashioned from bowls previously used for making chocolate in Rowntree's factory in Norwich, and was given to the cathedral after the factory closed in 1994. Since 2013, the Norfolk Medieval Graffiti Survey (NMGS) has recorded a large amount of medieval graffiti, including organ music inscribed on two four-line staves, on the interior stone surfaces of the cathedral.
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Retable of Saint Pere de Púbol, end of the 1430s (Museu d'Art de Girona) Little is known of his life prior to 1427, though by the mid-15th century he was one of the leading artists in Catalonia. The style of Martorell is contrastingly different from the Catalan Gothic painters who preceded him chronologically, including Lluís Borrassà. It shows that Martorell was familiar with contemporary Flemish painting, however, the documented part of his biography does not explain this influence. On the other hand, stylistic parallels have been drawn between Martorell and contemporary Italian artists, including Pisanello, Sassetta, and Gentile da Fabriano, but without any documentary evidence.
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"Dossal" in National Gallery Glossary Retable and reredos are alternative terms for solid structures, as is altarpiece, all of them rather more commonly used today. Dossal remains the usual term for an ornamental cloth suspended behind an altar,Guild; probably attached to the wall behind. This is often called a dossal curtain, and altar screen is also sometimes used as a synonym for a cloth dossal, as well as, more dubiously, for wood or stone screens in various locations in the sanctuary. Curtains at the side of an altar may be called riddels; these may be suspended between riddel posts at the corners of the altar.
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This indulgences were conceded by Pope Pius IV in the > year of 1564 by request of D. Álvaro de Castro, being Ambassador of Rome The presbytery is marked by the vestiges of a wooden balustrade, and covered by the rocks that cover the space. The church walls include fascia inscribed on the rocks and a concave retable in marble, crowned by cornices. The central axis includes three panels: the central panel, includes the tabernacle framed by pilasters and flanked by two niches, and the lateral oblique panels, which also have a niche. The main altar, in polychromatic marble front, is designed with organic composition.
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The panel on the right wall is titled Adoração dos Pastores, but is of unknown authorship. The panel has a legend reading Nesta Lapa se abrevia toda a gloria e sua luz; pois nella o sol de Jesus nasceo de aurora Maria. The panel at left has an image of the Virgin Mary in a procession to the new church, with a legend reading Bem intenta a devoção dar-lhe lugar mais decente porem na Lapa somente quer ter a veneração. The retable of the Church of Lapa is in the late baroque style and was designed by Antônio Mendes da Silva in 1755.
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The unique nave is covered in wood with three plans, with a lower footer in blue and white azulejo tile. Within this space, framed by the same portal and window, to the right, is a basin for holy water, while a triumphal arch framed in stonework, with pilasters and single step. The presbytery is covered with vaulted-ceiling, with cornice, while the main altar is preceded by two steps and framed within a gilded retable. A central rounded niche is flanked by pilasters with volutes and upper architecture in multiple lobes, framed by a medallion with the monogram AM circled by glint and urns.
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The chapel is a marble altar portico with two columns framing the altarpiece of the Virgin and child with saints painted by Rubens himself. The painting expresses the basis tenets of the Counter Reformation through the figures of the Virgin and saints. In the upper niche of the retable is a marble statue depicting the Virgin as the Mater Dolorosa whose heart is pierced by a sword, which was likely sculpted by Lucas Faydherbe, a pupil of Rubens. The remains of Rubens' second wife Helena Fourment and two of her children (one of which fathered by Rubens) were later also laid to rest in the chapel.
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The Church of Santo André () is a Romanesque and Baroque era Portuguese religious building located in the civil parish of Fiães, municipality of Melgaço, in the northern Portuguese district of Viana do Castelo. Originally a Roman-Cistercian monastery, it was remodeled during the 17th and early 18th century in the Baroque style, but still exemplifies many of the characteristics of the early building (typifying the Galician Cistercian monasteries and Minhota churches of the time). The beginning of 17th century remodeling began with images of the patron saints and coat-of-arms on the frontispiece, but later extended into the lateral altar (Mannerist) and the chancel retable (Baroque).
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Ciboria, often much smaller, were sometimes also erected to cover particular objects, especially icons and reliquaries,Cormack, 63, with a manuscript miniature showing an icon displayed under a ciborium and smaller ciboria that stood on, rather than over, the altar are also found. The word may also be used of some large sculptural structures that stand behind an altar, often offering no canopy or covering as such, for example at Siena Cathedral. These may be free-standing, or built against a wall, and usage here overlaps with the terms tabernacle and retable. The typical Gothic form of canopied niche to enclose a statue may be regarded as a "reduced form of ciborium".
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The retable rises to a great height above the altar; it includes an important statuary and a magnificent, delicate filigree of balusters, spires, small dossals, and chambranles, all done by Joan Peti. It consists of five continuous panels, the center panel being the widest; it is five storeys tall, and the lines of separation are stair-stepped. The themes of the central panel from bottom to top are: the figure of a seated Virgin and Child plated in silver on the predella, above this the tabernacle and a Gothic monstrance carved in wood, then a depiction of the Nativity, and above that, the Ascension. The whole culminates in a monumental scene of Christ's crucifixion at Calvary.
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These doors were usually divided into some six or eight oblong panels of more or less equal size. One of the doors of Bourges Cathedral is treated thus, the panels being filled in with very good tracery enriched with crockets and coats of arms. But a more restrained form of treatment is constantly employed, as at the church of St Godard, Rouen, where the upper panels only are carved with tracery and coats of arms and the lower adorned with simple linenfold design. To Spain and the Teutonic countries of Europe we look for the most important object of church decoration, the retable; the Reformation accounting for the absence in England of any work of this iec kind.
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The history about the altarpieces in Valdemarsvik church, according to Riksantikvarieämbetet :sv:Riksantikvarieämbetet: In 1917 the church was restored by Axel Lindegren :sv:Axel Lindegren and by then, the present retable with the altarpiece "Christ and the Sinking Peter" was painted by David Wallin in 1919, and the present pulpit, turned up. The earlier altarpieces, painted by F. H. Liljeqvist in 1877, were moved, but they are still hanging in the church.Svenska kyrkan in Valdemarsvik Pictures of Valdemarsvik church and pictures from the inside of the church with the altarpiece "Christ and the Sinking Peter" (1919) by David Wallin.Facts about Valdemarsvik church The altarpiece "Christ and the Sinking Peter" was painted by David Wallin in 1919.
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This is considered to be Richier's first Calvary and Paul Denis wrote that "Parmi le groupe assez important des calvaires pouvant être rattachés à l'atelier, celui de Génicourt nous paraît devoir être regardé comme le premier en date. La très intéressante église de ce village, situé à mi-chemin entre Saint-Mihiel et Verdun, renferme en effet un Christ en croix et deux statues de bois polychrome, la Vierge et saint Jean". The Génicourt work is thought to have been executed shortly after the retable at Hattonchâtel. The work is in polychromed wood and comprises a depiction of Jesus Christ on the Cross with the two robbers on either side and depictions of the Virgin Mary and St John.
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Some decades after the Norman conquest, manuscript painting in England was soon again among the best of any in Europe; in Romanesque works such as the Winchester Bible and the St. Albans Psalter, and then in early Gothic ones like the Tickhill Psalter. The best-known English illuminator of the period is Matthew Paris (c. 1200–1259). Some of the rare surviving examples of English medieval panel paintings, such as the Westminster Retable and Wilton Diptych, are of the highest quality. From the late 14th century to the early 16th century, England had a considerable industry in Nottingham alabaster reliefs for mid-market altarpieces and small statues, which were exported across Northern Europe.
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In addition, the space is surrounded by eight jasper busts on plinths, representing Roman emperors. In the Sala Dourada or Salão de Baile (Golden Room or Ballroom, respectively) the ceiling is paneled with a central allegory of the Roman Empire, with murals and crown moulding medallions in a neo-Pompeian motif. The Sala Luís XV (Louis Quinze Room), also pannelled, is highlighted by a series of paintings surmounted two shields of the House of Braganza and Orléans. The narrow rectangular chapel, with smooth walls and wood paneling, is occupied by a Neoclassical retable in gold-leafed wood, with a painting by André Reinoso representing the "A Adoração dos Pastores" (The Adoration of the Shepherds).
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The son of the sculptor Christian Eriksson (1858-1935), Liss Eriksson grew up on Maria Prästgårdsgatan on Södermalm in southern-central Stockholm. Following his studies at the College of Fine Arts for Nils Sjögren and Eric Grate in 1939-1944, Liss participated in the pioneering exhibition Ung Konst in 1947, before spending five years in Paris together with his wife, the artist Britta Reich-Eriksson, to study for Jean Osouf and Henri Laurens. He returned to Stockholm in 1951, in 1975 succeeding the studio of his father previously used by Sven 'X:et' Erixson (1899-1970). During his last years, he was working on a retable for the church Katarina kyrka, near his home.
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He was last mentioned living in 1505, and in 1508 as deceased. Before he was identified by Charles SterlingSterling, "The Master of St. Sebastian", Gazette des Beaux-Arts 22 (1942:135) and "Saint Sebastian Interceding for the Plague-stricken", The Art Quarterly 8 (1945:216). who linked his work with a document, his artistic personality was recognized, as the "Master of St. Sebastian", through a former retable of eight scenes depicting the acts and miracles of Saint Sebastian and Saint Roch, protectors against the plague, which was commissioned in 1497 for the church of Nôtre Dame des Accoulés in Marseille. Bernardino Sismondi, who originally received the commission, died, however, before he could finish the work.
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The term was subsequently adopted and popularised in the mid 16th century by the Florentine artist and historian, Giorgio Vasari, who used it to denigrate northern European architecture generally. Illuminated manuscripts continued to be collected by antiquarians, or sit unregarded in monastic or royal libraries, but paintings were mostly of interest if they had historical associations with royalty or others. The long period of mistreatment of the Westminster Retable by Westminster Abbey is an example; until the 19th century it was only regarded as a useful piece of timber. But their large portrait of Richard II of England was well looked after, like another portrait of Richard, the Wilton Diptych (illustrated above).
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Preceding the main chapel is a triumphal arch that leads into a structure illuminated by two windows to the north and south, with floor slabs and a ceiling covered in 35 panels (7 in the transverse direction and 5 in the longitudinal direction) painted with Marian scenes. On the north side, there is a straight door surmounted by archesolol in an arch with an inscription and topped by coat-of-arms in Ançã stone, opposited by straight door surmounted by arcosolol (similar to the previous one). The walls are fully lined with geometric patterns, polychromatic tile and stylized vegetal motifs. The retable of the main altar in gilded carvings and painted board depicting Christ.
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Sylvia Daoust, CM, CQ, RCA (24 May 1902 - July 19, 2004), born in Montreal, was one of the first female sculptors in Quebec. She studied at the Council of Arts & Manufactures and the École des Beaux-Arts, with Charles Maillard and Maurice Feliz, and later with Edwin Holgate at the Art Association of Montreal. She won many notable prizes for her work, which has been exhibited in institutions in the United States, Italy, and Canada. She is known for her portrait sculptures, and for revitalizing the traditions of liturgical art. Daoust was also one of the original members of the organization Le Retable d’Art Sacre, a group that helped transform the state of Roman Catholic churches in French Canada.
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She put aside her pursuit of modernist art and delved into scared art. Dom Bellot was in charge of Saint Joseph’s Oratory and she worked with his guidance there and in collaboration with Henri Charlier. Her transition into sacred art was marked by the production of approximately thirty wooden statues to which she added colour accents and experimented with different materials such as aluminum and leather. She participated in over twenty exhibits and collectives, although much of her work was not displayed in art galleries. Daoust was one of the original founding members of Le Retable d’Art Sacre, an organization that advocated and promoted the standards of religious art within the Roman Catholic churches in Québec.
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He was influenced by the Flemish style that characterizes the last phase of the Gothic. He undertook to paint an altarpiece 12 February 1470 in Aix for a rich widow called Catherine Spifami; in the center of the panel is a depicting the Death of Mary, and on the side panels, the Saints Mary Magdalene and Catherine are shown. He was attributed a number of works from this timetime, but none of these attributions can be considered reliable. One of the most interesting work of this group is the Retable des Pérussis or The Pérussis Altarpiece , depicts the adoration of the empty cross on Golgatha, and is located at the Metropolitan Museum in New York.
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Little is known about the life of Guccio di Mannaia, and very few works are attributed to him with certainty. He came from a family of Sienese goldsmiths, with his brother (Pino) as well as his three sons (Montigiano, Mannaia, and Jacopo) working in the same trade. He was influenced by Pace di Valentino who was the first Sienese goldsmith working for the papal court (under popes Nicholas III, Martin IV, Honorius IV, and Boniface VIII). In addition, he seems to have been familiar with northern European artworks, such as the Westminster retable in England and the miniatures in illuminated manuscripts of the Parisian Master Honoré, to which the human figures in his work are often compared.
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Cardinal Cisneros insisted that he wanted this part of the cathedral to be rebuilt and despite some resistance from the Chapel Chapter, he finally received its consent to demolish the old chapel and build one with a wider presbytery and sufficient space for the great Gothic retable which he himself had commissioned. Also, in its original state, the chapel had been enclosed laterally by two magnificent screens of stone, which were like enormous gates. The Pulpit, or Gospel side of the church, with its screen, was demolished to make room for the sepulchre of Cardinal Mendoza. The lectern, or Epistle side, remains as it was and by this it can be deduced that it was part of a larger work.
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Vestiges of the rose window suggest that it can be dated to the 14th century, probably removed from a primitive Romanesque place of worship. From the end of the 15th century to the beginning of the 16th century, there was work on the monastic buildings, including new spaces and altars, constructed under the abbesses Leonor Coutinho and Melícia de Melo. Between 1596-1597, panels from the retable were painted by Diogo Teixeira. At the end of the 17th century, the first reconstructions and expansions of the monastic complex were initiated, in the western and north wings. On 28 February 1701, there was a contract between the abbess and masters António Gomes and João da Costa to remake the altar for 600$000 réis.
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This altarpiece has now disappeared. In the same year, he took part in the auction of the reredos of which he won against the LangloisRepresented by François Langlois, their brother, a grain merchant. and the marble maker Julien LecomteOlivier Martinet also architect put the said altar to a thousand pounds to which as more demeaning by the advisers of most of the said parishioners was the said awarded company. However, it did not respect the planned deadlinesOne year. and completed the project in 1649Paris-Jallobert, Journal historique de Vitré, . In 1647, he ordered again from Rochereau et Cuvelier, which was to be delivered to Nantes. In 1650, he built an altar at Saint-Colomban Church in Quimperlé.\- Retable de l'église Saint-Colomban de Quimperlé.
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Other rooms of interest are the Sala dos Troféus (Trophy Hall), Sala das Estações (Hall of Seasons), Sala da Fauna (Hall of the Faun) and the Sala da Música (Hall of Music). The azulejos of the Sala de Caça (Hunting Room) are part of the "grand production" of the Joanino Baroque, or artistic period during the reign of King John V of Portugal, which were ultimately completed by Bartolomeu Antunes. From the beginning of the Rococo were the Sala das Estações, and Sala da Fama (both painted in blue), and the second group, consisting of the Sala das Trofeus and Sala de Música, which were completely later. The chapel is a rectangular structure, with walls in stucco, retable with columns, and framed ceiling.
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After Vatican II the mensa was moved forward in order to accommodate the novus ordo with the Bishop's throne and celebrant's chairs set behind it. The style of the altar is that of the pre-Vatican II era when the altar served both as the main focal point of the church and as the throne. The retable with its extravagantly carved canopy and columned tabernacle in the shape of a church door remains in its place but the mensa has been moved forward to allow the bishop's throne and celebrant's chairs to be placed behind to allow the versus populam as prescribed by the new order of Mass. Of interest is the central panel showing one of the Stations of the Cross (Jesus falling).
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In Santa Maria in Grado is a noble retable with angels holding a crown over a standing figure of the Madonna; a number of small figures of worshippers take refuge in the folds of the Virgin's mantle, a favourite motive for sculpture dedicated by guilds or other corporate bodies. Perhaps the finest collection of works of this class is at La Verna, not far from Arezzo. The best of these, three large retables with representations of the Annunciation, the Crucifixion, and the Madonna giving her Girdle to St Thomas, are probably the work of Andrea himself, the others being by his sons. In 1489 Andrea made a relief of the Virgin and two Angels, now over the archive-room door in the Florentine Opera del Duomo; for this he was paid twenty gold florins.
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The parochial church, Nossa Senhora da Ajuda, dates back to the construction of a chapel in the 16th century by Captain Gaspar de Medeiros the Older (its cupola was paid for by the Santa Casa de Misercórdia of Ponta Delgada). During the early settlement of São Miguel, from about 1846, this area pertained to the parish of Arrifes, passing to the territory of Relva later, until its numbers warranted the creation of a new entity. On March 2, 1958 the chapel of Nossa Senhora da Ajuda was destroyed in a violent fire; its retable and the image of Nossa Senhora da Ajuda were lost. In ashes of the temple, the residents were able to save a few books and documents, and an image of the Virgin Mary that was located in the baptistery.
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The open wings show from left to right: Virgin Mary with a bared breast and donors, Christ pointing at the wound on His chest, God the Father enthroned, John the Baptist with donors. In the open view we see the Virgin Mary flanked by St George and St. Victor. The left wing shows St. Francis of Assisi and the right wing St. Gertrude of Nivelles. The retable remained in the house of the Brotherhood of the Blackheads from 1534 to 1943. The altar of the Holy Kin from about 1490, made at Jan Borman’s workshop in Brussels; or the altar of Christ's Passion, made at the beginning of the 16th century by the workshop of the Brugge master Adrian Isenbrandt at the order of the powerful Brotherhood of Blackheads.
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The principal entrance is the side entryway to the three nave body, which is flanked by square corner pilasters, surmounted by a small bell-tower over the door. To the left, the smaller annex is actually the chapel's altar and retable, slightly recessed from the entrance (the tail of the "T"), while to the right of this structure, is the Solar dos Pintos; a larger two-story building with massive portico, surmounted by two visible windows. Above the main entrance way to the chapel are three coat of arms, within square granite slabs, and two Romanesque inscriptions (on the right side of the doorway), while the whole ensemble is decorated with cornices. Access to the chapel is made by four-step staircase on either side of the building.
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On 31 December 1790 Saint-Maxe was officially announced as closed by a decree issued by the authorities in Bar-le-Duc and on 2 August 1792 another decree ordered that it be sold and demolished. The various works of art were lodged in a local warehouse "pour être utilisés plus tard". There is evidence that these works of art were not looked after properly, especially in the chaotic days of the revolution. Durival wrote that as part of the Saint Maxe altarpiece or retable, Richier had included a carving of Christ on the Cross together with the Virgin Mary and St John and that all that was left of this was a rather mutilated head which was now kept by the "Bibliothèque de la Société de l'histoire du protestantisme finançais".
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The view of the facade of the Church of Senhor do Socorro, showing the royal coat-of-arms, marking the influence or patronage of the Portuguese Corte A view of the Church on the grounds, with terraced gardens The construction of the church began in 1773, possibly with royal grants given the presence of the coat-of-arms located on the frontispiece. A votive offering was already occurring at the site by 1774. Work on the sanctuary continued the rest of this centre, with decoration and public artwork installed in the retable and chancel. The cost of the work on the collateral retables were readjusted by painters Manuel José Afonso (from the parish of Sapo) and Manuel Martins da Cunha (resident of Covas) to the tune of 78$200 reis on 15 December 1777.
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An altarpiece for S. Maria de' Fossi at Perugia, painted in 1496-1498, now moved to the city's picture gallery, is a Madonna enthroned among Saints, very minutely painted; the wings of the retable have standing figures of St. Augustine and St Jerome; and the predella has paintings in miniature of the Annunciation and the Evangelists. Another fine altarpiece, similar in delicacy of detail, and probably painted about the same time, is that in the cathedral of San Severino -- the Madonna enthroned looks down towards the kneeling donor. The angels at the sides in beauty of face and expression recall the manner of Lorenzo di Credi or Da Vinci. The Vatican picture gallery has the largest of Pinturicchio's panels -- the Coronation of the Virgin, with the apostles and other saints below.
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Some of his surviving letters discuss works which may be identifiable with existing pieces, and an "aurifaber G", who some have identified with , a shadowy figure to whom many masterpieces are attributed. Several important commissions were certainly placed by Wibald with Mosan workshops of goldsmiths and metalworkers, and other works later connected with Stavelot are also presumed to have been commissioned by him. The works, mostly enamels of very high quality, include the Stavelot Triptych, a portable altar reliquary for two fragments of the True Cross, , (now in the Morgan Library & Museum in New York), the Stavelot Portable Altar of 1146, and a head-shaped reliquary of Pope Alexander II, , possibly by (both now Museum, Brussels). A gold relief retable of the Pentecost (1160–70) is in the ' in Paris.
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The three-story symmetrical altar and presbytery wall is marked by a triumphal Roman arch with pediment accessing the altar, flanked on either side by doors, two niches (with the images of Saint Peter and Saint Paul respectively) and, similarly, two windows with guardrails. Generally, the form of the presbytery has an architectural form; its design is dictated by an exterior form, which were hallmarks of many of the works of Jerónimo de Ruão, much like the presbytery of the Jerónimos Monastery. The presbytery has rhythmic marble walls with pilasters, surmounted by a vaulted-ceiling, with painted panels, guarding a gilded retable and altar with the image of Our Lady of the Conception. The rectangular sacristy, which is accessed from the northern narrow corridor, is abutted by a rectangular courtyard.
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The tympanum of the earlier door of the central nave, today in the open air, was decorated with a scene of Christ in majesty, with (some believe) Christ as a portrait of Clovis I. In the earlier door of the secondary nave was a capital representing a fight between Pepin the Short and a lion. The glass-windows of the apse date back to the end of the 15th century and the beginning of the 16th, ordered by Louis of Blancafort or his successor Pierre de Martigny (1518-1527). Besides the monastic church (12th and 13th centuries), the Notre-Dame de Bethléem chapel (to the west of the monastic church), in which is a retable of 1650 by Gilles Guérin, and parts of the convent were preserved, all largely dating to Louis de Blanchefort's 15th century rebuild.
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El Transparente is several storeys high and is extraordinarily well-executed with fantastic figures done in stucco, painting, bronze castings, and multiple colors of marble; it is a masterpiece of Baroque mixed media by Narciso Tomé and his four sons (two architects, one painter and one sculptor). The illumination is enhanced when the Mass is being said in the mornings and the sun shines from the east, shafts of sunlight from the appropriately oriented skylight striking the tabernacle through the hole in the back of the retable, giving the impression that the whole altar is rising to heaven. The fully Baroque display contrasts strongly with the predominant Gothic style of the cathedral. The cathedral is also illuminated through more than 750 stained glass windows from the 14th, 15th and 16th centuries, the work of some of the greatest masters of the times.
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Adriaen Isenbrandt, Mass of St Gregory, 1550, Museo del Prado The painting remained in the church for which it was painted until after the French Revolution, and was one of the well-known artistic attractions of Bruges for visitors. It was presumably one of the paintings in the church praised by Albrecht Dürer in his diary in 1521. In 1547 Mary of Hungary, Governess of the Spanish Netherlands, wanted to buy it for her collection, but the chapter politely refused, saying this would create "moans, protests, uproar and complaints" from the people. During a spate of Calvinist mob iconoclasm in 1578 it was moved to a private house for safety, and by 1600 it had been given a setting with side wings and now formed the main altarpiece, replacing a destroyed metalwork retable of the 14th century.
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Still Life with Lemons, Oranges and a Rose, 1633, Norton Simon Museum The Flight into Egypt, late 1630s, Seattle Art Museum In 1631 he painted the great altarpiece of The Apotheosis of Saint Thomas Aquinas, now in the Museum of Fine Arts of Seville; it was executed for the church of the college of that saint. This is Zurbarán's largest composition, containing figures of Christ, the Madonna, various saints, Charles V with knights, and Archbishop Deza (founder of the college) with monks and servitors, all the principal personages being more than life-size. It had been preceded by numerous pictures for the retable of St. Peter in the cathedral of Seville. Between 1628 and 1634 he painted four scenes from the life of St. Peter Nolasco for the Principal Monastery of the Calced Mercedarians in Seville.
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The first cathedral at Toulon existed in the 5th century, but no trace of it remains. The present building was begun in 1096 by Gilbert, Count of Provence,in right of his wife, Gerberga II of Provence according to tradition in gratitude for his safe return from the Crusades. The first three travées, or bays of the nave, remain from the Romanesque 11th century church and the present Chapel of Saint Joseph was originally the choir apse. The Chapel of Relics was constructed in the 15th century. Retable by Pierre Puget (17th century) In the winter of 1543–1544 the cathedral, the largest building in the city, was temporarily transformed into a mosque for the 30,000 crew members of the ships of the Ottoman-Barbary admiral Hayreddin Barbarossa, at that time an ally of Francis I of France.
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These are frequently framed with realistic yet decorative garlands of fruit and flowers painted with coloured enamels, while the main relief is left white. The hospital of San Paolo, near Santa Maria Novella, has also a number of fine medallions with reliefs of saints, two of Christ Healing the Sick, and two fine portraits, under which are white plaques inscribed "DALL ANNO 1451 ALL ANNO 1495". The first of these dates is the year when the hospital was rebuilt owing to a papal brief sent to the archbishop of Florence. Arezzo possesses a number of enamelled works by Andrea and his sons: a retable in the cathedral with God holding the Crucified Christ, surrounded by angels, and below, kneeling figures of San Donato and San Bernardino; also in the chapel of the Campo Santo is a relief of the Madonna and Child with four saints at the sides.
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Two cloisters — one secular, one for the monks — survive as the courtyards of the brick-and- stone 17th-century domestic ranges, now housing the Museum of the Principality of Stavelot-Malmedy, and museums devoted to the poet Guillaume Apollinaire, who was a long-term resident, and to the Circuit de Spa-Francorchamps. The foundations of the abbey church are presented as a footprint, with walls and column bases that enable the visitor to visualize the scale of the Romanesque abbey. Abbot Wibald (ruled 1130–58) was one of the greatest patrons of the arts in the 12th century; the Stavelot Triptych of gilded copper and enamels, which contained two fragments of the True Cross, was produced for the Abbey during his rule (about 1156). The binding of the Stavelot Bible, and the remaining fragments from the retable (altar screen) at Stavelot are also high points of medieval art.
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Scene from the smaller Champmol altarpiece; the Execution of John the Baptist The Retable of the Crucifixion; detail of the right side Jacques de Baerze (active before 1384, died after 1399) was a Flemish sculptor in wood, two of whose major carved altarpieces survive in Dijon, now in France, then the capital of the Duchy of Burgundy. De Baerze probably came from Ghent, and lived in Dendermonde (Termonde in French) some thirty kilometres away, which is also not far from Antwerp and Brussels. He was clearly a well-established master before the death in January 1384 of the local ruler, Louis II of Flanders, Duke of Brabant, as two commissions from Louis to produce carved altarpieces are recorded, though the works have not survived. These were for the chapel of the castle of Dendermonde, and the hospice of the Cistercian abbey of Bijloke, then just outside Ghent.
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The front facade of the 17th century Church of Santo António The parish remotes to the end of the 17th century, when it was ecclesiastical parish of Santo António, in honour of Anthony of Padua. Its principal centre of worship was dedicated to the invocation of the saint, the single-belfry Church of Santo António (which was unique at the time for having only one belltower, as compared to the other churches on the island). The church was dotted with a valuable retable located in the presbytery, elaborated in thin guildwork and its stoic large images dedicated to St. Anthony and the Sacred Heart of Jesus. In addition, the parish included several hermitages dedicated to their respective saints, including the Hermitage of São Vicente, the Hermitage of Santa Ana, the chapel of Santo António da Furna, the Church of Santo António and the Império of the Divine Holy Spirit of Santo António, which all characterize the history of their localities.
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Syson and Gordon, 58, discusses and illustrates the cycle, without mentioning the pastiglia; Monza Duomo museum It was perhaps more common in decorating secular palaces than churches, but the vast majority of Gothic palace decorations are now lost. In England, it was used in the Painted Chamber of Westminster Palace as well as the much-damaged Westminster Retable painted panel,Všetečková and in Early Netherlandish painting used in works such as the Seilern Triptych attributed to Robert Campin, where the gold skies have elaborate patterns of foliage, with a different design on each panel.Courtauld, The Seilern Triptych By about 1500, and with the advent of painting on more flexible canvas, which would not be a suitable support for pastiglia, use in painting disappears, but it continued on picture frames, where Renaissance gesso pastiglia generally consisted of vegetal motifs.Example in the Victoria & Albert Museum During the 16th century cassoni and some frames became more massive, and woodcarving replaced pastiglia.
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These works were noticed by Philip the Bold, Duke of Burgundy, Louis' son-in-law and successor as Count of Flanders. In 1385 Philip had founded a Carthusian monastery, the Charterhouse of Champmol, then just outside Dijon, as the dynastic burial-place of the Burgundian Valois, and was filling it with impressive works of art. In 1390, he commissioned de Baerze to create two similar altarpieces for Champmol: one, now known as the Altar of Saints and Martyrs for the chapter house,Photo and text in french -- Dijon Museum and the larger, now known as the Retable of the Crucifixion, for the main altar of the church.Photo and text in french - Dijon Museum, and more pictures and French text Both are triptychs with hinged wings, carved on the interior, but the exterior panels, showing when the wings were closed, were to be painted by his court artist Melchior Broederlam (another Fleming who also previously worked for Louis) -- a common arrangement for a grand altarpiece.
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Altarpiece of St Nicolas - Ludovico Brea, 1500 The Cathedral of Our Lady Immaculate (in French language: Cathédrale de Notre-Dame-Immaculée), but sometimes called Saint Nicholas Cathedral (name of the old church which was demolished in 1874), or Monaco Cathedral (French: Cathédrale de Monaco), is the cathedral of the Roman Catholic Archdiocese of Monaco in Monaco-Ville, Monaco, where many of the Grimaldis were buried, including Grace Kelly and—more recently—Rainier III. The cathedral was built in 1875–1903 and consecrated in 1911, and is on the site of the first parish church in Monaco built in 1252 and dedicated to Saint Nicholas. Of note are the retable (circa 1500) to the right of the transept, the Great Altar and the Episcopal throne in white Carrara marble. Pontifical services take place on the major religious festivals, such as the Feast of Sainte Dévote (27 January) and the national holiday (19 November).
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He painted for the monastery of St. Mary of Grace, Church of Santa Cruz, in the city, an altar-piece representing the Descent from the Cross (1548), which is now in the cathedral, having been removed there when the church fell into ruins. There are other works by the same painter in Seville Cathedral, especially two representing the Purification of the Virgin and the Resurrection, the impressive main retable of Santa Ana, and others in various churches of the city, such as San Isidoro, San Pedro, Santa Catalina, and San Juan de la Palma. One of his last works was the restoration and repainting of a chapel belonging to Hernando de Jaen, an important resident of Seville. Murillo requested that he be buried near Campaña's picture, and his burial took place in the Church of Santa Cruz, close underneath the Descent from the Cross, but the whole building was burned to the ground during the Napoleonic Wars, and the tomb perished.
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SR. PE. / JOSÉ FURTADO MOTA, / NO 50º ANIVERSÁRIO / DA SUA ENTRADA / NESTA PARÓQUIA EM 1909, / ONDE REALIZOU VÁRIOS E / IMPORTANTES MELHORAMENTOS :Homage / to Reverend Sir Father / José Furtado Mota / on the 50th Anniversary / of his entry / to this parish in 1909 / where he realized various and / important improvements On each of the walls of the nave, in the centre, is a door to the exterior, flanked by two high windows. Opposite the epistole between the last window and the triumphal arch, is a pulpit over stone and corbel. The archway accesses the altar and chancel with complimentary doors and windows on each wall (one to the sacristy and one to the exterior), and the structure is flanked by two retables oriented on 45º angles. At the end of altar is a retable that includes cartouche with a crown and the inscription: :NOSSA SENHORA DOS MILAGRES :Our Lady of Miracles The retables and pulpit guardrail are in painted Revivalist woodwork.
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The window over the west entrance; you can see one of the two arcades that connect the western façade to the opposite bell tower. The 1466 Gothic-Catalan style wooden choir and the marble remains of the Gagini's retable (removed during the 18th-century alterations) are also precious, as well as a marble statue of the Madonna with Child by Francesco Laurana and pupils (1469The sculpture is commonly known as Madonna Libera Inferni ("free from Hell"). It received this name in 1576, when Pope Gregory XIII gave indulgence for the Purgatory's souls to the altar in which it is placed. The sculpture was intended for the church of Monte San Giuliano in Trapani, but remained here as the Palermitani refused to deprive themselves of such a beautiful art work.), a 13th-century polychrome Crucifix by Manfredi Chiaramonte, the holy water stoup on the fourth pilaster (by Domenico Gagini) and the Madonna della Scala by Antonello Gagini, on the high altar of the new sacristy.
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For example, the so-called "Cloth altar" (around 1440/1450) comes from the demolished Augustinian church, the Perringdorf sandstone epitaph by Adam Kraft (around 1498) was also from the Augustinian monastery. However, many of the original medieval furnishings of the Frauenkirche have been preserved, albeit in museums rather than in the church itself. Surviving remnants include: a stone sculpture cycle from around 1360 in the choir (including adoration of the kings and St. Wenceslas; an Annunciation angel and candlestick angel from the school of Veit Stoss (early 16th century); remains of the first high altar table around 1400 (the painted panels are today in the Germanic National Museum in Nuremberg and in Frankfurt's Städel Museum); and several terracotta sculptures, some of which are in the Prague National Gallery. The successor on the high altar, the so- called "Catfish" retable from the early 16th century, is only preserved in fragments today (in the Germanic National Museum). The famous “Nuremberg Tonapostel” from around 1400 was originally in the Frauenkirche and is divided between the German National Museum and St. James Church.
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The edifice that presently houses the seminary was constructed by the Jesuits with donations from the boy-king of Portugal, Dom Sebastião, in the area occupied originally by a Muslim fortress. The coat of arms of the King of Portugal at the entrance of the Seminary The foundation stone for the main quadrangular portion was blessed and laid on 1 November 1606 by Fr. Gaspar Soares. Three years later, on 31 October 1609, with the solemn celebration of the Vespers, the “College of All Saints” (Colégio de Todos os Santos) was blessed and inaugurated.Amaro Pinto Lobo, Memoria Historico-Eclesiastica da Arquidiocese de Goa em commemoracao do quadricentenario da sua ereccao Canonica, 1533-1933, Tip."A Voz de S.Francisco Xavier",Nova Goa, 1933, pg. 275 Somewhere between 1622 and 1640, the name of the college was changed to "College of St. Ignatius" (Colégio de S. Inácio). The change was to pay homage to St. Ignatius of Loyola, the founder of the Jesuit Order, who had been canonized in 1622. The retable of the main altar of the Seminary Church testifies to this fact.
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Musée National de la Renaissance, Château d'Écouen, Guide des collections, Éditions de la Réunion des musées nationaux, (2017), p. 8-9 The Cluny Museum re-opened after the German occupation in World War II, and a long debate began on where to put the Renaissance Art. This was not settled until 1969, when the Culture Minister André Malraux proposed opening a new museum in the Château d'Écouen. The chateau, which had been stripped of almost all art, was renovated by architects of the Monument historiques,Rebecca Rogers, Les demoiselles de la Légion d'honneur: Les maisons d'éducation de la Légion d'honneur au XIX siècle (Paris: Plon) 1992.Musée National de la Renaissance, Château d'Écouen, Guide des collections, Éditions de la Réunion des musées nationaux, (2017), p. 8-9 The new collection was chosen from among the objects of the Cluny collection based on chronology and style. The Ecouen museum received Italian Renaissance works created after 1400 and other works after 1500. The new museum also received two important works from the Louvre Museum, The Last Supper by Marco d'Oggiono and the Retable of the Passion by Pierre Raymond.
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In 1749, the exterior, including the courtyard and benches were remodelled by master mason João do Cano, for 68$500 réis, a price that he reduced three times; the cost of the project diminished so greatly, that by the end of the commission, the mason petitioned the administrative council to raise his stipend, in order to cover his personal costs. The brotherhood, owing to their satisfaction, obliged the artisan, since they felt the project was well conceived and executed, but subtracted a promised eight alqueires of corn (which was also promised at the time). The ombudsman of the Confraria das Almas, solicited the participation of the brothers of the Misericórdia in order to realize a remodelling of their altar, since there was exposed wood and damage, and since they alone did not have the capacity to pay the costs of such a project on their own. The group already had a guarantee from the Confraria de São Pedro for this project, but request 30$000 réis for gold-leafing and work on the retable (the Misericórdia offered 20$000). The residents of the town petitioned the Misericórdia administration to install an image of the Cristo Crucificado (Crucified Christ) in the chancelin 1750.
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From the writings of Father António Cordeiros in 1715, thirty residents solicited the Bishop of Angra, then friar D. Clemente Vieira, to have Cedros de-annexed from the parish of Santa Cruz, and have a separate member of the curia assist their congregation. In order to justify this request the residents contributed, with their own funds, the cost to construct a church, to the invocation of Our Lady of the Pillar. The Captain-Donatary, D. Martinho Mascarenhas, 6th Count of Santa Cruz, offered to assist this group, with contributions to complete the retable of the new church and donation of an image of Senhora do Pilar. It was only in 1690, that the deacon of the Sé Cathedral in Angra, owing to the death in office of the bishop, who emitted the necessary charter to authorize the de-annexation. On 9 July 1693, the locality of Cedros was raised to the status of parish, with its first priest being Father, Domingos Furtado de Mendonça, paid a stipend of 24$000 annually (two parts in wheat and the other in cash), paid for by the Commandery of the Islands of Flores and Corvo, then pertaining to the Count of Santa Cruz.
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