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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 ...
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If the altar stands free in the choir, such that visitors can pass behind the main altar, both sides of the altarpiece can be covered with painting. The screen, retable or reredos are commonly decorated. Groups of statuary can also be placed on an altar. [6] A single church can furthermore house several altarpieces on side-altars in chapels.
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 ...
A Dossal (or dossel, dorsel, dosel), from French dos (back), is one of a number of terms for something rising from the back of a church altar. In modern usage, it primarily refers to cloth hangings [ 1 ] but it can also denote a board, often carved or containing a painting, that rises vertically from the back of the altar and to which the cloth ...
The church is noted for its exceptional collection of 20th century stained glass, The group of three windows in the apse, over the altar, were made by Jacques de Chevalier (1896-1978). THe left window illustrates the Apostles; the Bull, the symbol of aint Luke and the figure of Saint Matthew. The right windows shows the eagle of Saint John, and ...
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 ...