The Christian Basilica Near the Cenchrean Gate at Corinth
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B. Consecrated for Worship
CONSECRATED FOR WORSHIP A DIRECTORY ON CHURCH BUILDING Consecrated for Worship A DIRECTORY ON CHURCH BUILDING SEPTEMBER 2006 Catholic Bishops’ Conference of England & Wales CATHOLIC TRUTH SOCIETY PUBLISHERS TO THE HOLY SEE Published 2006, by the Catholic Truth Society and Colloquium (CaTEW) Ltd. The Catholic Truth Society, 40-46 Harleyford Road, Vauxhall, London SE11 5AY; www.cts-online.org.uk Colloquium (CaTEW) Ltd, 39 Eccleston Square, London SW1V 1BX. www.catholicchurch.org.uk Copyright © 2006 Catholic Bishops’ Conference of England and Wales. All rights reserved. No part of this publication may be reproduced or stored or transmitted by any means or in any form, electronic, mechanical, including photocopying, recording, or any information storage and retrieval system, without prior written permission from the publishers. ISBN 1 86082 384 X The Liturgy Office of the Bishops’ Conference The Liturgy Office works with the Bishops’ Conference Department of Christian Life and Worship to provide resources to support worthy celebration of the Liturgy. It seeks to promote the full, conscious and active participation of all the baptised in the Liturgy so that they might find there the nourishment and inspiration necessary to sustain them in their Christian lives and witness. Website: www.liturgyoffice.org.uk Contents 7 CONTENTS 3 Coming into the Church: entrance and narthex. 54 4 Proclaiming the Word: the Ambo . 57 5 A holy and living sacrifice: the Altar . 60 FOREWORD . 8 6 A focus for loving service: the Sanctuary . 65 7 Womb and Tomb: the place for Baptism. 69 OVERVIEW . 10 Storage of the Holy Oils. 72 What is this book? . -
Church Building Terms What Do Narthex and Nave Mean? Our Church Building Terms Explained a Virtual Class Prepared by Charles E.DICKSON,Ph.D
Welcome to OUR 4th VIRTUAL GSP class. Church Building Terms What Do Narthex and Nave Mean? Our Church Building Terms Explained A Virtual Class Prepared by Charles E.DICKSON,Ph.D. Lord Jesus Christ, may our church be a temple of your presence and a house of prayer. Be always near us when we seek you in this place. Draw us to you, when we come alone and when we come with others, to find comfort and wisdom, to be supported and strengthened, to rejoice and give thanks. May it be here, Lord Christ, that we are made one with you and with one another, so that our lives are sustained and sanctified for your service. Amen. HISTORY OF CHURCH BUILDINGS The Bible's authors never thought of the church as a building. To early Christians the word “church” referred to the act of assembling together rather than to the building itself. As long as the Roman government did not did not recognize and protect Christian places of worship, Christians of the first centuries met in Jewish places of worship, in privately owned houses, at grave sites of saints and loved ones, and even outdoors. In Rome, there are indications that early Christians met in other public spaces such as warehouses or apartment buildings. The domus ecclesiae or house church was a large private house--not just the home of an extended family, its slaves, and employees--but also the household’s place of business. Such a house could accommodate congregations of about 100-150 people. 3rd-century house church in Dura-Europos, in what is now Syria CHURCH BUILDINGS In the second half of the 3rd century, Christians began to construct their first halls for worship (aula ecclesiae). -
The Capital Sculpture of Wells Cathedral: Masons, Patrons and The
The Capital Sculpture of Wells Cathedral: Masons, Patrons and the Margins of English Gothic Architecture MATTHEW M. REEVE For Eric Fernie This paper considers the sculpted capitals in Wells cathedral. Although integral to the early Gothic fabric, they have hitherto eluded close examination as either a component of the building or as an important cycle of ecclesiastical imagery in their own right. Consideration of the archaeological evidence suggests that the capitals were introduced mid-way through the building campaigns and were likely the products of the cathedral’s masons rather than part of an original scheme for the cathedral as a whole. Possible sources for the images are considered. The distribution of the capitals in lay and clerical spaces of the cathedral leads to discussion of how the imagery might have been meaningful to diCerent audiences on either side of the choir screen. introduction THE capital sculpture of Wells Cathedral has the dubious honour of being one of the most frequently published but least studied image cycles in English medieval art. The capitals of the nave, transepts, and north porch of the early Gothic church are ornamented with a rich array of figural sculptures ranging from hybrid human-animals, dragons, and Old Testament prophets, to representations of the trades that inhabit stiC-leaf foliage, which were originally highlighted with paint (Figs 1, 2).1 The capitals sit upon a highly sophisticated pier design formed by a central cruciform support with triple shafts at each termination and in the angles, which oCered the possibility for a range of continuous and individual sculpted designs in the capitals above (Fig. -
Pevsner's Architectural Glossary
Glossary pages new extra text:Layout 1 10/9/10 16:22 Page 1 PEVSNER’S ARCHITECTURAL GLOSSARY Glossary pages new extra text:Layout 1 10/9/10 16:22 Page 2 Nikolaus and Lola Pevsner, Hampton Court, in the gardens by Wren's east front, probably c. Glossary pages new extra text:Layout 1 10/9/10 16:22 Page 3 PEVSNER’S ARCHITECTURAL GLOSSARY Yale University Press New Haven and London Glossary pages new extra text:Layout 1 10/9/10 16:22 Page 4 Temple Street, New Haven Bedford Square, London www.pevsner.co.uk www.lookingatbuildings.org.uk www.yalebooks.co.uk www.yalebooks.com for Published by Yale University Press Copyright © Yale University, Printed by T.J. International, Padstow Set in Monotype Plantin All rights reserved. This book may not be reproduced in whole or in part, in any form (beyond that copying permitted by Sections and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers Glossary pages new extra text:Layout 1 10/9/10 16:22 Page 5 CONTENTS GLOSSARY Glossary pages new extra text:Layout 1 10/9/10 16:22 Page 6 FOREWORD The first volumes of Nikolaus Pevsner’s Buildings of England series appeared in .The intention was to make available, county by county, a comprehensive guide to the notable architecture of every period from prehistory to the present day. Building types, details and other features that would not necessarily be familiar to the general reader were explained in a compact glossary, which in the first editions extended to some terms. -
Narthex of the Deaconesses in the Hagia Sophia by Neil K. Moran Abstract
Narthex of the Deaconesses in the Hagia Sophia by Neil K. Moran Neil K. Moran received a Dr.phil. from Universität Hamburg, Germany, in 1975, and completed a fellowship at Harvard’s Center for Byzantine Studies in 1978. He also holds a B.Mus. from the University of Alberta, Edmonton, and a M.A. from Boston University. He is the author/co-author of six books, and 37 articles and reviews that can be found on academia.edu. Abstract: An investigation of the ceiling rings in the western end of the north aisle in the Hagia Sophia revealed a rectangular space delineated by curtain rings. The SE corner of the church was assigned to forty deaconesses. An analysis of the music sources in which the texts are fully written out suggests that the deaconesses took part in the procession of the Great Entrance ceremony at the beginning of the Mass of the Faithful as well in rituals in front of the ambo. ……………………………………………………………………………………….. Since the turn of the century, a lively discussion has developed about the function and place of deaconesses in the Greek and Russian Orthodox Churches. In her 2002 dissertation on "The Liturgical Participation of Women in the Byzantine Church.”1 Valerie Karras examined the ordination rites for deaconesses preserved in eighth-century to eleventh-century euchologia. In the Novellae Constitutiones added to his code Justinian stipulated that there were to be forty deaconesses assigned to the Hagia Sophia:2 Wherefore We order that not more than sixty priests, a hundred deacons, forty deaconesses, ninety sub-deacons, a hundred and ten readers, or twenty-five choristers, shall be attached to the Most Holy Principal Church, so that the entire number of most reverend ecclesiastics belonging thereto shall not exceed four hundred and twenty in all, without including the hundred other members of the clergy who are called porters. -
Liturgical Architecture: the Layout of a Byzantine Church Building
Liturgical Architecture: The Layout of a Byzantine Church Building Each liturgical tradition has its own requirements and expectations for the liturgical space; here, we will look at the St. Nicholas Church building and its symbolism in the Byzantine tradition. The nave The most ancient plan of Christian architecture is probably the basilica, the large rectangular room used for public meetings, and many Byzantine churches today are organized around a large liturgical space, called the nave (from the Greek word for a ship, referring to the ark of Noah in which human beings were saved from the flood). The nave is the place where the community assembles for prayer, and symbolically represents the Church "in pilgrimage" - the Church in the world. It is normally adorned with icons of the Lord, the angels and the saints, allowing us to see and remember the "cloud of witnesses" who are present with us at the liturgy. At St. Nicholas, the nave opens upward to a dome with stained glass of the Eucharist chalice and the Holy Spirit above the congregation. The nave is also provided with lights that at specific times the church interior can be brightly lit, especially at moments of great joy in the services, or dimly lit, like during parts of the Liturgy of Presanctified Gifts. The nave, where the congregation resides during the Divine Liturgy, at St. Nicholas is round, representing the endlessness of eternity. The principal church building of the Byzantine Rite, the Church of Holy Wisdom (Hagia Sophia) in Constantinople, employed a round plan for the nave, and this has been imitated in many Byzantine church buildings. -
The Two-Piece Corinthian Capital and the Working Practice of Greek and Roman Masons
The two-piece Corinthian capital and the working practice of Greek and Roman masons Seth G. Bernard This paper is a first attempt to understand a particular feature of the Corinthian order: the fashioning of a single capital out of two separate blocks of stone (fig. 1).1 This is a detail of a detail, a single element of one of the most richly decorated of all Classical architec- tural orders. Indeed, the Corinthian order and the capitals in particular have been a mod- ern topic of interest since Palladio, which is to say, for a very long time. Already prior to the Second World War, Luigi Crema (1938) sug- gested the utility of the creation of a scholarly corpus of capitals in the Greco-Roman Mediter- ranean, and especially since the 1970s, the out- flow of scholarly articles and monographs on the subject has continued without pause. The basis for the majority of this work has beenformal criteria: discussion of the Corinthian capital has restedabove all onstyle and carving technique, on the mathematical proportional relationships of the capital’s design, and on analysis of the various carved components. Much of this work carries on the tradition of the Italian art critic Giovanni Morelli whereby a class of object may be reduced to an aggregation of details and elements of Fig. 1: A two-piece Corinthian capital. which, once collected and sorted, can help to de- Flavian period repairs to structures related to termine workshop attributions, regional varia- it on the west side of the Forum in Rome, tions,and ultimatelychronological progressions.2 second half of the first century CE (photo by author). -
The Five Orders of Architecture
BY GìAGOMO F5ARe)ZZji OF 2o ^0 THE FIVE ORDERS OF AECHITECTURE BY GIACOMO BAROZZI OF TIGNOLA TRANSLATED BY TOMMASO JUGLARIS and WARREN LOCKE CorYRIGHT, 1889 GEHY CENTER UK^^i Digitized by the Internet Archive in 2013 http://archive.org/details/fiveordersofarchOOvign A SKETCH OF THE LIFE OF GIACOMO BAEOZZI OF TIGNOLA. Giacomo Barozzi was born on the 1st of October, 1507, in Vignola, near Modena, Italy. He was orphaned at an early age. His mother's family, seeing his talents, sent him to an art school in Bologna, where he distinguished himself in drawing and by the invention of a method of perspective. To perfect himself in his art he went to Eome, studying and measuring all the ancient monuments there. For this achievement he received the honors of the Academy of Architecture in Eome, then under the direction of Marcello Cervini, afterward Pope. In 1537 he went to France with Abbé Primaticcio, who was in the service of Francis I. Barozzi was presented to this magnificent monarch and received a commission to build a palace, which, however, on account of war, was not built. At this time he de- signed the plan and perspective of Fontainebleau castle, a room of which was decorated by Primaticcio. He also reproduced in metal, with his own hands, several antique statues. Called back to Bologna by Count Pepoli, president of St. Petronio, he was given charge of the construction of that cathedral until 1550. During this time he designed many GIACOMO BAROZZr OF VIGNOLA. 3 other buildings, among which we name the palace of Count Isolani in Minerbio, the porch and front of the custom house, and the completion of the locks of the canal to Bologna. -
Architecture, Power, and National Identity
Architecture, Power, and National Identity Second edition This new, expanded edition of Architecture, Power, and National Identity examines how architecture and urban design have been manipulated in the service of politics. Focusing on the desigq .?fparliamentary complexes in capital cities across the world, it shows how these places reveal the struggles for power and identity in multicultural natiortstates. Building on the prize-winning first edition, Vale updates the text and illustrations to account for recent sociopolitical changes, inciudesdisCl.lssion of several newly built places, and assesses the enhanced concerns for security that have preoccupied regimes in politically volatile countries. Th~ book is truly glob<l;l in scope, looking at capital cities in North America and Europe, as well as in India, Brazil, Sri Lanka, Kuwait, Bangladesh, Nigeria, Tanzania, Papua New Guinea, and Australia. Ultimately, Vale presents an engaging, incisive combination of history, politics, and architecture to chart the evolution of state power and national identity, updated for the twenty-first century. Lawrence Vale is the Head of the Department of Urban Studies and Planning at MIT. He has published six previous books, including the first edition of Architecture, Power, and National Identity, which received the Spiro Kostof Award from the Society of Architectural Historians. Praise for the first edition: "Lawrence Vale's Architecture, Power, and National Identity is a powerful and compelling work and is a major contribution to the history of urban form." David Gosling, Town Planning Review "[Vale's] book makes fascinating reading for anyone interested in the cultural forces behind architecture and urban design and in the ways that parliamentary and other major government buildings are emblematic of the political history and power elites of their countries. -
Nave Plans Reflect Years of Listening, Revising
February 2019 | Issue No. 125 A presence Sacred in the center of Memphis Photo by Fleming Architects In the plan for the chancel, the high altar moves closer to the people, and the Communion rail at the base of the stairs defines the new perimeter. The flooring adds a clean finish to the worship space. Nave Plans Reflect years of Listening, Revising nnual meetings at Church of the Holy Communion are in muted shades of gray and white, adds a clean, cool finish to Abusy, boisterous times when the parish discusses its business the floors and aisle. and accomplishments. The improvements include the narthex, now an underused An awed quiet fell over the room in this year’s meeting when and poorly lit entry, the unseen heating and cooling systems in Sandy pulled back the cloth on the stunning views of what the attic and dated bathrooms near the front door. The flooring architect Scott Fleming says is possible for the nave. extends to the narthex. Natural light streams through new The nave is awash in a gentle light that highlights its graceful windows in both the east and west doors of the narthex and arches, creamy walls and ceiling. The chancel, where so many through a newfound transom over the church’s front doors. sacred moments in the life of this church family happen, is open Flooding the entry with natural light and creating windows and more accessible. The high altar is closer to the people. And the in the back wall of the church immediately connects people communion rail, where the faithful gather each week, is moved to arriving for church to the sacred beauty of the central place of the base of the chancel stairs, creating a more flexible space. -
2008 Romanesque in the Sousa Valley.Pdf
ROMANESQUE IN THE SOUSA VALLEY ATLANTIC OCEAN Porto Sousa Valley PORTUGAL Lisbon S PA I N AFRICA FRANCE I TA LY MEDITERRANEAN SEA Index 13 Prefaces 31 Abbreviations 33 Chapter I – The Romanesque Architecture and the Scenery 35 Romanesque Architecture 39 The Romanesque in Portugal 45 The Romanesque in the Sousa Valley 53 Dynamics of the Artistic Heritage in the Modern Period 62 Territory and Landscape in the Sousa Valley in the 19th and 20th centuries 69 Chapter II – The Monuments of the Route of the Romanesque of the Sousa Valley 71 Church of Saint Peter of Abragão 73 1. The church in the Middle Ages 77 2. The church in the Modern Period 77 2.1. Architecture and space distribution 79 2.2. Gilding and painting 81 3. Restoration and conservation 83 Chronology 85 Church of Saint Mary of Airães 87 1. The church in the Middle Ages 91 2. The church in the Modern Period 95 3. Conservation and requalification 95 Chronology 97 Castle Tower of Aguiar de Sousa 103 Chronology 105 Church of the Savior of Aveleda 107 1. The church in the Middle Ages 111 2. The church in the Modern Period 112 2.1. Renovation in the 17th-18th centuries 115 2.2. Ceiling painting and the iconographic program 119 3. Restoration and conservation 119 Chronology 121 Vilela Bridge and Espindo Bridge 127 Church of Saint Genes of Boelhe 129 1. The church in the Middle Ages 134 2. The church in the Modern Period 138 3. Restoration and conservation 139 Chronology 141 Church of the Savior of Cabeça Santa 143 1. -
The British Museum Annual Reports and Accounts 2019
The British Museum REPORT AND ACCOUNTS FOR THE YEAR ENDED 31 MARCH 2020 HC 432 The British Museum REPORT AND ACCOUNTS FOR THE YEAR ENDED 31 MARCH 2020 Presented to Parliament pursuant to Section 9(8) of the Museums and Galleries Act 1992 Ordered by The House of Commons to be printed on 19 November 2020 HC 432 The British Museum Report and Accounts 2019-20 © The British Museum copyright 2020 The text of this document (this excludes, where present, the Royal Arms and all departmental or agency logos) may be reproduced free of charge in any format or medium provided that it is reproduced accurately and not in a misleading context. The material must be acknowledged as British Museum copyright and the document title specifed. Where third party material has been identifed, permission from the respective copyright holder must be sought. Any enquiries related to this publication should be sent to us at [email protected]. This publication is available at www.gov.uk/ofcial-documents. ISBN 978-1-5286-2095-6 CCS0320321972 11/20 Printed on paper containing 75% recycled fbre content minimum Printed in the UK by the APS Group on behalf of the Controller of Her Majesty’s Stationery Ofce The British Museum Report and Accounts 2019-20 Contents Trustees’ and Accounting Ofcer’s Annual Report 3 Chairman’s Foreword 3 Structure, governance and management 4 Constitution and operating environment 4 Subsidiaries 4 Friends’ organisations 4 Strategic direction and performance against objectives 4 Collections and research 4 Audiences and Engagement 5 Investing