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A reredos (/ ˈ r ɪər ˌ d ɒ s, ˈ r ɪər ɪ-, ˈ r ɛ r ɪ-/ REER-dos, REER-ih-, RERR-ih-) is a large altarpiece, a screen, or decoration placed behind the altar in a church. It often includes religious images. The term reredos may also be used for similar structures, if elaborate, in secular architecture, for example very grand carved ...
In the first several centuries of large Christian churches being built, the altar tended to be further forward (towards the congregation) in the sanctuary than in the later Middles Ages (a position to which it returned in the 20th century) and a large altarpiece would often have blocked the view of a bishop's throne and other celebrants, so decoration was concentrated on other places, with ...
Except in Solemn Mass, a priest celebrating Tridentine Mass remains at the altar the whole time after saying the Prayers at the Foot of the Altar. The rite of Dedication of a church and of the altar points out that the celebration of the Eucharist is "the principal and the most ancient part of the whole rite, because the celebration of the ...
Detailed image of the central piece of altar. As in almost all cases of Cranach Post-Reformation altarpieces, there is also a great deal of Christocentric Lutheran symbolism, Christian allegory and Protestant theological concept of Five solas depicted in the Weimar altarpiece, with each image referring to salvation alone in Jesus, emphasizing the sacrifice of Jesus in Solus Christus.
In the course of the Baroque re-design in 1705, it was "altered in a tasteless way", namely dismantled into parts to be re-installed in the church outside the altar area. The altar survived the city fire in 1719 undamaged. After the bombing of Schneeberg on April 19, 1945, the altarpiece was rescued from the already burning church by many ...
The twelve interior panels. This open view measures 5.2 m × 3.75 m (17.1 ft × 12.3 ft). [1] Closed view, back panels. The Ghent Altarpiece, also called the Adoration of the Mystic Lamb (Dutch: De aanbidding van het Lam Gods), [A] is a very large and complex 15th-century polyptych altarpiece in St Bavo's Cathedral, Ghent, Belgium.
The triptych altarpiece was installed at the high altar of the Wittenberg City Parish Church of St. Mary's in 1547, one year after Luther's death, and it is believed to be consecrated by Johannes Bugenhagen, who was the pastor at St. Mary's church in Wittenberg and a good friend of Martin Luther. [2]
The area around the altar is seen as endowed with greater holiness, and is usually physically distinguished from the rest of the church, whether by a permanent structure such as an iconostasis, a rood screen, altar rails, a curtain that can be closed at more solemn moments of the liturgy (as in the Armenian Apostolic Church and Armenian ...
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