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The tabernacle at St Raphael's Cathedral in Dubuque, Iowa, placed on the old high altar of the cathedral (cf. General Instruction of the Roman Missal, 315, a). A tabernacle or a sacrament house is a fixed, locked box in which the Eucharist (consecrated communion hosts) is stored as part of the "reserved sacrament" rite.
A model of the Tabernacle showing the holy place, and behind it the Holy of Holies. The Holy of Holies (Hebrew: קֹדֶשׁ הַקֳּדָשִׁים, romanized: Qōḏeš haqQŏḏāšīm or Kodesh HaKodashim; also הַדְּבִיר hadDəḇīr, 'the Sanctuary') is a term in the Hebrew Bible that refers to the inner sanctuary of the Tabernacle, where the Shekhinah (God's presence) appeared.
The main source describing the tabernacle is the biblical Book of Exodus, specifically Exodus 25–31 and 35–40. Those passages describe an inner sanctuary, the Holy of Holies, created by the veil suspended by four pillars.
Some Unitarian hymnals also employed, deliberately, the same tune for "Bring, O morn, thy music" by William Channing Gannett, which has been described as a "considered response" to the Trinitarianism of the original text. It includes deliberate quotations of Heber's text, notably the repeated final line "Who wert, and art, and evermore shalt be".
Psalm 84 is the 84th psalm of the Book of Psalms, beginning in the English of the King James Version: "How amiable are thy tabernacles, O Lord of hosts!".The Book of Psalms forms part of the Ketuvim section of the Hebrew Bible [1] and part of the Christian Old Testament.
The Prayer of Saint Ephrem is then said once again. The Evening Litany is said, followed by the Lord's Prayer. The elevation takes place similarly to at a usual Liturgy. When it comes time for Holy Communion, the clergy make their communion as normal, except that no words accompany their drinking from the chalice.
13th-century Yaroslavl Gospels, with curtained ciborium in the centre; a common motif in Evangelist portraits. Images and documentary mentions of early examples often have curtains called tetravela hung between the columns; these altar-curtains were used to cover and then reveal the view of the altar by the congregation at points during services — exactly which points varied, and is often ...
Since the 1950s, sacred and liturgical music has been performed and recorded by many jazz composers and musicians, [4] [1] combining black gospel music and jazz to produce "sacred jazz", similar in religious intent, but differing in gospel's lack of extended instrumental passages, instrumental improvisation, hymn-like structure, and concern ...
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