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The tabletop of the altar, the "mensa", had to be of a single piece of natural stone (almost always marble). Its supports had to be attached to the mensa. If contact was later broken even only momentarily (for instance, if the top was lifted off for some reason), the altar lost its consecration. Every altar had to have a "title" or "titulus" in ...
For St Stephen's Church, Bournemouth, Hitch did carvings on the marble pulpit, stalls, triptych and altar table in 1889 [16] and in 1898 worked on the Altar Table and Triptych (reredos) based upon John Loughborough Pearson’s designs. The pulpit shows three scenes from the New Testament.
An elaborate Rococo credence table with marble top. A credence table is a small side table in the sanctuary of a Christian church which is used in the celebration of the Eucharist (Latin credens, -entis, believer). The credence table is usually placed near the wall on the epistle (south) side of the sanctuary, and may be covered with a fine ...
On the other hand, "in keeping with the Church’s traditional practice and with what the altar signifies, the table of a fixed altar should be of stone and indeed of natural stone", except where the episcopal conference authorizes the use of another material (such as wood) that is dignified, solid and well-crafted. "A movable altar may be ...
Bregno, however, did not realize the marble altarpiece that was meant to frame the c. 1390 Madonna of Humility painting by Paolo di Giovanni Fei and the 14 statues "in the round" that were meant to fill the various niches and spaces of the altar. The original project included these elements but by 1486, Bregno, now in his 70s, had a breakdown ...
The 17th century saw an increase in classicism and the use of marble. Effigies might be sitting or standing, grief-stricken, shrouded or, unusually, rising from the grave. Busts and relief portraits were popular. High Baroque monuments were some of the grandest ever constructed. Decoration turned to cherubs, urns, drapery, garlands of fruit and ...
Fourth bay: Altar dedicated to the Patriarch Saint Joseph brought from the old church (end of the 16th or early 17th century). The altarpiece is a 1942 painting of Saint Joseph by Santa Rugolo. The elevation is pilasters surmounted by a symmetrical arched pediment with central stele. The altar table has a precious marble frontal.
The opening scene is a sunlit glade at the foot of thickly wooded hill, on a warm summer afternoon in 31,920 AD. On the west side stands a little classic temple and in the middle of the glade there is a marble altar, shaped like a table, and long enough for a man to lie on. Rows of curved marble benches, spaced well apart, fan out from the altar.
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