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Following this, he knelt before the high altar, where Bishop Arne Fjellbu laid his hand on the king's head and recited a special prayer of consecration and blessing which formed the climax of the ritual:Eternal, Almighty God, Heavenly Father, we thank thee whose grace in need has always gone over our land in woeful and good times to this day.
Other achievements of Thomas II include the consecration of the high altar of the cathedral, attendance at the First Council of Lyon (1274), holding a diocesan synod in 1279 and the establishment of the St. Thomas Collegiate Church in Racibórz.
Other nearby churches in Derbyshire where Advent Hunstone's work may be found include the lych gate at Burbage, the reredos and high altar at Dronfield the organ cases and choirstalls at Matlock St Giles, various furnishings at Millers Dale and at Wormhill the chancel furnishings.
Great steps were built up to the new carved high altar which was commissioned from Oberammergau by the Rector, the Revd Arthur Chandler, later Bishop of Bloemfontein.
The fine high altar, dating from 1872 and originally part of The Sisters of Perpetual Adoration convent chapel in Taunton, was installed in 1929 and designed by John Francis Bentley of Westminster Cathedral fame.
Rohr—Monastery Church of Assumption (high altar) (ca. 1717)
Behind the high altar is displayed a large painting entitled L'embarquement de saint Louis pour la croisade by Jacques-Antoine Beaufort (1721–1784).
He worked mainly in wood, and is best known for the 16 (now 10) figures of Moriskentänzer (Morris dancers) (1480), the madonna of the high altar in St Mary (Ramersdorf), the oak choir stalls at the cathedral of Munich (1502) and the high altar at Reichersdorf (1502–1506).
In 1670-74 Le Hongre provided sculptural decorations for the great doors and the high altar in the chapel of the Collège des Quatre-Nations, Paris, and was one of Antoine Coysevox's collaborators on the funerary monument of Cardinal Mazarin which was still in process of completion at Le Hongre's death.
He spent the decade 1698-1708 in Dalmatia, where he provided sculptures for the high altar with Saints John, Dominic, Bruno and Chiara for Santa Chiara, Cattaro (Kotor), an altar for San Giuseppe and the marble altar of the chapel of St. Tryfon, in San Trifone.
There are two important altars inside the cathedral: the high altar of Hans Baldung, and another altar of Hans Holbein the Younger in a side chapel.
He also contributed to the Certosa di Pavia and sent many sculptures for the Sacri Monti of Piedmont and Lombardy, including to Monte Calvario; to the 9th, 10th, and 15th chapels of the Sacri Monti of Domodossola; to the 13th and 19th chapels of the Sacri Monti of Orta; and the statues of SS Domenico and Francisco in the high altar (1660–1662) for the Sacri Monti of Varese .
In 1109 Henry I ordered the New Minster to be removed to the suburb of Hyde Mead, to the north of the city walls, just outside the gate; when the new abbey church of Hyde was consecrated in 1110, the bodies of Alfred, his wife Ealhswith, and his son Edward the Elder were carried in state through Winchester to be interred once more before the high altar.
Weyarn—Catholic Parish Church of St. Peter and St. Paul (woodcarving on high altar, including Annunciation, Pietà, putti, the carved shrine of Saint Valerius, and silver-framed tabernacle) (1763–1764)
Starting thus, Sarrazin speedily obtained employment from Cardinal Aldobrandini at the Villa Aldobrandini, Frascati, where he won the friendship of Domenichino, with whom he afterwards worked on the high altar of Sant'Andrea della Valle.
In 1604-7 he executed, in conjunction with a certain Jayme Terol, a scholar of Fray Nicolas Borras, the pictures for the high altar of St. John Baptist's church, at the town of Muro.
A grave plate next to the high altar, probably sculpted by Peter Vischer the Elder, shows Magdalena and her husband in a traditional German costume, with a medal of the Order of Our Lady of the Swan around her neck and a dog at her feet (a symbol of feminine loyalty).
Marie died in 1649 and was buried in the City Church in Bayreuth; she had donated the high altar in this church.
Son Stanislaw Kossior (Kossiorowicz) (d. 1626) was also a painter, and in the years 1610 and 1617 he was a member of the painters' guild in Poznan, and painted the high altar in Szamotuły.
The chapel vault was frescoed by the Greek painter Belisario Corenzio and on the right is a painting by Ippolito Borghese, on the left a painting begun by Girolamo Imparato and completed by Fabrizio Santafede, and in the center, behind the high altar, the Deposition by Santafede.
He painted, in 1506, in conjunction with Francesco Pagano, the doors of the high altar of the cathedral of Valencia, with subjects from the Life of the Virgin.
His body was returned to New Norcia three years later and buried in a tomb of Carrara marble behind the high altar of the Abbey church.
Paolo Veneziano (painted Crucifix hanging in front of the high altar (attributed))
Works of art in the interior include the Incredulity of St. Thomas by Santi di Tito (1576–1577), a Crucifixion fresco by Bartolomeo della Gatta (1486), an Adoration of the Shepherd by Durante Alberti and, at the high altar, the Resurrection Polyptych by Niccolò di Segna (c. 1348).
His body was carried to Parma and buried before the high altar of the cathedral.
In the 4th century, Constantine the Great brought a set of columns to Rome and gave them to the original St. Peter's Basilica for reuse in the high altar and presbytery; The Donation of Constantine, a painting from Raphael's workshop, shows these columns in their original location.
These plans originally involved the demolition of the tower, but this was shelved on protests from William Morris, Edward Burne-Jones, Holman Hunt, Ford Madox Brown, Anthony Trollope, George du Maurier, Coventry Patmore, F. T. Palgrave and others, in favour of simple extensions westwards in 1877–78 designed by F.P. Cockerell (though these extensions moved the church's high altar to the geographical west end, rather than the more usual east end).
Highlights include the roof beam, the tryptich above the high altar, the Lady Chapel, the shrines of Our Lady and of St. Barnabas, the baptistry, the Nativity painting by Norbert Chapdelaine, the Stations of the Cross, the 1897 Casavant Frères organ, and the stained glass windows.
The picture located at the high altar was painted by Michelangelo Unterberger, director of the fine arts academy of Vienna, illustrating the Patron Saint.
The unparalleled stucco work on the high altar was created by Johann Joseph Christian when his son Karl Anton Christian (1731–1810) became abbot here.
The church houses also a canvas by Jacopo Ligozzi (Assumption, 1598), behind the high altar, and a 14th-century polychrome wooden Crucifix, in the Sacrament Chapel.
His life and martyrdom are celebrated in the scenes depicted in the High Altar of the St. Nicholas' Church, Tallinn.