Συνώνυμα & Αναγραμματισμοί | Αγγλικά λέξη RETABLE

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Παραδείγματα χρήσης RETABLE σε μια πρόταση

• For altars that are against the wall, the retable often sits on top of the altar, at the back, particularly when there is no reredos (in which case a dossal curtain or something similar is used instead of a reredos).
• 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, 250 years before the invention of modern movable type printing by Johannes Gutenberg.
• The Main Altar, seating, Tabernacle urn, Retable, an Altar Painting: the Agony of Christ in the garden of olives, and 2 Statues of St.
• 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.
• A few examples of top-quality English painting on walls or panel from before 1500 have survived, including the Westminster Retable, The Wilton Diptych and some survivals from paintings in Westminster Abbey and the Palace of Westminster.
• 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.
• In 1479 he painted the retable of the high altar in the church of St Mary at Zwickau, which still exists, receiving for it the large sum of 1400 gulden.
• 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.
• Saint-Etienne church, in a Viscounty created in 1033 by King Sancho III of Navarre, is mentioned in documents of 1253, but with a Baroque retable of the 17th century displaying the stoning of 1st century AD Saint Étienne.
• 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.
• Martorell painted retable panels and manuscript illuminations, and carved sculptures and also provided designs for embroideries.
• 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 (1469), 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.
• 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.
• 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.
• Preux, Résurrection d'un grand artiste Jehan Bellegambe de Douai : peintre du retable d'Anchinin, Extrait des Souvenirs de la Flandre Wallone, livraison de juin 1862, éd.
• 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 Saint-Claude, today the cathedral of Saint-Pierre, Saint-Paul et Saint-André.
• 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.
• 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.
• 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.
• The Altar Wings of Roudníky are two surviving wings of late Gothic retable, which probably originated in one of Prague's contemporary workshops for a village Utraquist village parish church.

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