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Journal articles on the topic 'Altar'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

May, David M. "Interpreting Revelation with Roman Coins: A Test Case, Revelation 6:9–11." Review & Expositor 106, no. 3 (2009): 445–65. http://dx.doi.org/10.1177/003463730910600309.

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The altar scene in Revelation 6:9–11 has been interpreted as a positive image of martyred saints being presence with God in heaven. This article, however, challenges this traditional assumption. Based on Roman imperial coinage, especially those coins with images of altars, it is likely that John portrayed the altar in his narrative as not representing the heavenly altar of God but the imperial altar of Rome. John takes well-known Roman images and challenges his readers to resist the temptation these altars represent as symbols of the false ideology espoused by Rome. He also illustrates how the

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2

Nemeti, Irina, and Sorin Nemeti. "ARA MARTIS. NOTES ON AN ANEPIGRAPHIC ALTAR FROM DACIA." Acta Musei Napocensis 61 (December 10, 2024): 191–201. https://doi.org/10.54145/actamn.i.61.08.

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The study analyzes a monument published in 1916 by Buday Árpád, who considered it a funerary altar. It is mentioned that it belonged to the museum’s old collection, without any reference to the place of discovery, only that it came from Transylvania. All the interpretations from previous publications are unanimous in considering this altar as funerary, despite the absence of any funerary symbolism. The shape and decoration of the altar, as well as the presence of the focus, are typical for votive altars in the province of Dacia. The altar belongs to the category of altars with the capital deco

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Coulton, J. J. "Pedestals as ‘altars’ in Roman Asia Minor." Anatolian Studies 55 (December 2005): 127–57. http://dx.doi.org/10.1017/s0066154600000697.

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AbstractThe Greek word bomos usually means ‘altar’, but in inscriptions of the Roman period it sometimes refers to statue bases and other forms of support, where the meaning ‘altar’ is not appropriate. Many scholars believe that in addition to its normal meaning of cult or votive altar and (by extension) funerary altar, bomos could also mean a pedestal, socle or platform in general. This paper examines the use of the term bomos in Roman Asia Minor for statue bases, for pedestals for sarcophagi, ash chests and columns, and for other structures which are not altars, concentrating particularly on

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Wang, Chao, Chenhui Wang, Ke Tang, Zhiming Rao, and Jian Chen. "Effects of Different Aging Methods on the Phenolic Compounds and Antioxidant Activity of Red Wine." Fermentation 8, no. 11 (2022): 592. http://dx.doi.org/10.3390/fermentation8110592.

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In this study, oak barrels, glazed pottery altars, unglazed pottery altars, and stainless-steel tanks were selected as aging containers for red wine, and phenolic compounds and antioxidant activity were analyzed and compared. The color of red wine in unglazed pottery altars and glazed pottery altars changed to brick red and brownish yellow, respectively; the color of red wine in oak barrels did not change significantly; and color retention was best in stainless-steel tanks. The total content of anthocyanins and nonanthocyanin phenolic compounds was higher in the unglazed pottery altar group (2

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HAERINCK, Ernie, and Bruno OVERLAET. "Altar Shrines and Fire Altars?" Iranica Antiqua 43 (January 31, 2008): 207–33. http://dx.doi.org/10.2143/ia.43.0.2024049.

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6

Jakutowicz, Joanna. "Der gotische Muttergottes‑Altar von Guttstadt (1426)." Studia z Dziejów Średniowiecza, no. 25 (September 16, 2022): 144–69. http://dx.doi.org/10.26881/sds.2022.25.07.

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This article offers a stylistic analysis of the Marian altar from the church of the Redeemer and All Saints in Dobre Miasto in the voivodship of Warmia and Masuria. The altar was set up in 1426 as an altar for morning mass. It remains incomplete to this day: several Gothic figures were replaced by later pieces of sculpture, and the altar was provenance is also questionable of the centrally located sculpture of Mary and Child. The literature up to now has pointed out stylistic analogies with the altar in Pörschken (Nowo‑Moskowskoje), at present in the collection of the Castle Museum in Ma

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7

Pazos-López, Ángel. "Introibo Ad Altare Dei—Visual Displaying and Liturgical Ornamentation of Christian Altars in the Late Medieval Illustrations of the Roman Rite." Religions 16, no. 2 (2025): 112. https://doi.org/10.3390/rel16020112.

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This study offers an in-depth exploration of the visual representation of Roman Rite liturgical altars in medieval images from the 13th to the 15th centuries, presenting a fresh perspective on the altar as a central and complex element of medieval liturgical furnishings. It examines key iconographic themes, such as the introit Ad te levavi animam meam and masses celebrated by saints, often depicting divine interventions during the Eucharist. Additionally, the research investigates the role of performative visual elements, such as curtains, which contributed to the depiction of sacred space wit

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8

Tulić, Damir, and Mario Pintarić. "Altar furnishings and sculptures in the parish Church of St. Peter in Ilirska Bistrica." Kronika 71, no. 3 (2023): 519–34. http://dx.doi.org/10.56420/kronika.71.3.04.

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The paper analyses four altars made of stone and marble in the parish Church of St. Peter in Ilirska Bistrica. Stylistically and chronologically, their construction went through three phases during the eighteenth century. The oldest ones stand under the triumphal arch and may be dated to the first quarter of the eighteenth century. The altar on the left was originally dedicated to St. Nicholas, whose figure is carved on the altar frontal. It was the work of an unknown workshop influenced by the Pacassi family of altar builders from Gorizia. The sculptures were produced by an unknown local mast

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9

Jibladze, Leri, and Bidzina Murvanidze. "A Stone Altar form Shida Kartli." Pro Georgia 33, no. 1 (2023): 209–14. http://dx.doi.org/10.61097/12301604/pg33/2023/209-214.

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The article discusses an altar made of limestone which was found accidentally in the village of Tkotsi on the territory of Khashuri Municipality. The artifact is little in size and belongs to the variety of portable altars. Its height is 11.5 cm and is cylindrical in plan. The sanctuary of Tkotsi consists of three parts – a base, a pillar and a capital. Little sized clay altars were found in small quantities in Hellenistic and Roman times on the territory of Georgia. From that period they were widely spread both in the western and eastern peripheries of the ancient world, especially in the wes

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10

Ekroth, Gunnel. "Rings, Pits, Bone and Ash: Greek Altars in Context." Acta Archaeologica 93, no. 1 (2023): 161–77. http://dx.doi.org/10.1163/16000390-20210023.

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Abstract Greek altars have received ample attention in scholarship as to their appearance, construction, and location within a sanctuary, as well as their importance as the central feature for the rituals allowing communication with the gods. The immediate surroundings of altars have not been considered to the same degree. This paper explores the context of Greek altars and some of the features located here, for example, rings for fastening animals, stone-lined pits, and remains of previous sacrifices. Of particular interest is the use of the top of the altar for ritual purposes in relation to

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11

Kılıç Aslan, Selen. "Drei Girlanden-Altäre aus Xanthos (?) und Patara." Gephyra 29 (May 11, 2025): 127–35. https://doi.org/10.37095/gephyra.1614977.

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This paper re-publishes three inscribed garlanded altars from Lycia preserved in the Museum of Antalya and provides corrected information on their findspots as well as some improved readings, which enables new considerations about the identities of the persons documented in them. The first inscribed altar comes most probably from Xanthos in Lycia, but not from Pogla in Pisidia, and records, among others, a man named Niketes, son of Hegemon, who is probably identical with Niketes, son of Hegemon, known from another Xanthian inscription as a sacred herald (hierokeryx) of the Lycian League. The m

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Tulić, Damir. "Nepoznati anđeli Giuseppea Groppellija u Zadru i nekadašnji oltar svete Stošije u Katedrali." Ars Adriatica, no. 6 (January 1, 2016): 155. http://dx.doi.org/10.15291/ars.182.

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As the former capital of Dalmatia, Zadar abounded in monuments produced during the 17th and 18th century, especially altars, statues, and paintings. Most of this cultural heritage had been lost by the late 18th and the first decades of the 19th century, when the former Venetian Dalmatia was taken over by Austrian administration, followed by the French and then again by the Austrian one. Many churches were closed down, their furnishings were sold away or lost, and the buildings were either repurposed or demolished. One of them had been home to two hitherto unpublished angels-putti located on th

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13

Herbert, Zbigniew, John Carpenter, and Bogdana Carpenter. "Altar." Grand Street, no. 65 (1998): 131. http://dx.doi.org/10.2307/25008349.

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Hamer, Forrest. "Altar." Callaloo 24, no. 4 (2001): 1021. http://dx.doi.org/10.1353/cal.2001.0254.

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15

McDonald, Richard. "The ‘Altar of the Lord Your God’ in Deuteronomy 16.21: Central Altar or Local Altars?" Journal for the Study of the Old Testament 37, no. 4 (2013): 453–72. http://dx.doi.org/10.1177/0309089213475398.

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Steffi Veronika Honger. "MAKNA SIMBOLIK ALTAR KLENTENG AN HWA TIAN." PATISAMBHIDA : Jurnal Pemikiran Buddha dan Filsafat Agama 4, no. 1 (2023): 12–26. http://dx.doi.org/10.53565/patisambhida.v4i1.874.

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Umat Buddha Tridharma Klenteng An Hwa Tian masih banyak yang belum memahami makna simbolik pada altar dan keterlibatan makna altar sesungguhnya bagi umat di Kabupaten Kotabaru. Hal ini ditunjukkan karena memang tidak adanya pemberian pembelajaran mengenai makna simbolik pada tiap altar di klenteng. Penelitian ini bertujuan untuk : (1) mendeskripsikan bentuk altar di Klenteng An HwaTian. (2) mendeskripsikan makna simbolik altar di Klenteng An Hwa Tian. (3) mendeskripsikan implikasi makna altar di Klenteng An Hwa Tian bagi umat Buddha di Kotabaru. Penelitian ini merupakan penelitian kualit

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17

Harris-Schober, Madaline. "Ritual connections: altars and installations of Late Bronze Age Cyprus and Iron Age Philistia as examples of continuity, change and nostalgia." Cahiers du Centre d'Etudes Chypriotes 54 (2024): 95–109. http://dx.doi.org/10.4000/12lrz.

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The two-horned Philistine altar from the site of Tell es‑Safi/Gath is a hallmark find. Whilst this altar is the earliest of its kind in the Iron Age Levant, there are remarkable Late Bronze Age connections to the Cypriot horns of the consecration and slaughtering blocks/altars from Late Cypriot cult sites. The Philistine altar is hewn from stone and unworked on the back and rear sides, bearing resemblance to these Late Bronze Age Cypriote cult and ritual furnishings in both aesthetic design and possible use. Slaughtering blocks from Late Bronze Age Cyprus are rectangular stone blocks with shal

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18

Posternak, Kiril V. "TRADITION OR RENOVATIONISM? CONSTRUCTION OF ORTHODOX CHURCHES WITH OPEN ALTARS IN RUSSIA IN THE 1990S - 2010S." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 4 (2024): 156–69. https://doi.org/10.28995/2686-7249-2024-4-156-169.

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Type of a through iconostasis, which opens the inner space of the altar to view, has repeatedly appeared in Russian church architecture. Its origins lie as far back as Byzantine architecture. In the 20th century the appeal to that type of iconostases turned out to be consonant with the ideas of liturgical revival, most popular among the Russian emigration. In the 1930s – 1960s in Europe, iconostases of Orthodox churches with very wide portals were created. In some churches, the iconostases disappeared, revealing the altar. In the Soviet Union, on the contrary, preference was given to high-blin

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19

Fransiskus, Lado, Mali Mateus, and Subali Yohanes. "ALTAR SEBAGAI TEMPAT TERJADINYA PERISTIWA KESELAMATAN: TINJAUAN TEOLOGIS MENURUT ALFONSUS MARIA DE LIGUORI." Jurnal Teologi 11, no. 02 (2022): 167–80. http://dx.doi.org/10.24071/jt.v11i02.5260.

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This article is a study to find the theological meaning of altar according to Saint Alphonsus Maria de Liguori. The author is interested in examining one of the peculiarities of Alphonsus' theology, namely the altar. The main focus of this writing is to find the theological meaning of the altar according to Alphonsus. The method used is a literature study. The main source of this research is the theological reflections generated from the writings of Alphonsus. The purpose of this article has two purposes. First, helping the Catholic people to experience the Eucharist more deeply when it is set

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20

Kostanjšek Brglez, Simona, and Boštjan Roškar. "Baroque furnishings in the Church of St. John the Baptist in Ljutomer." Kronika 70, no. 3 (2022): 783–98. http://dx.doi.org/10.56420/kronika.70.3.10.

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The contribution discusses the Baroque furnishings the parish Church of St. John the Baptist in Ljutomer. Rather than the same period, the sculptural furnishings were produced between the end of the seventeenth and the end of the eighteenth centuries, with the current main altar built the last as the oeuvre of the Maribor-native sculptor Jožef Holzinger. Another known sculptor commissioned for the church in Ljutomer was Franz Abraham Schackhar from Leibnitz (Slo.: Lipnica), whose workshop constructed the Altar of the Holy Cross. An important written source for conducting research on the furnis

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Kostanjšek Brglez, Simona, and Boštjan Roškar. "Baroque furnishings in the Church of St. John the Baptist in Ljutomer." Kronika 70, no. 3 (2022): 783–98. http://dx.doi.org/10.56420/https://doi.org/10.56420/kronika.70.3.10.

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The contribution discusses the Baroque furnishings the parish Church of St. John the Baptist in Ljutomer. Rather than the same period, the sculptural furnishings were produced between the end of the seventeenth and the end of the eighteenth centuries, with the current main altar built the last as the oeuvre of the Maribor-native sculptor Jožef Holzinger. Another known sculptor commissioned for the church in Ljutomer was Franz Abraham Schackhar from Leibnitz (Slo.: Lipnica), whose workshop constructed the Altar of the Holy Cross. An important written source for conducting research on the furnis

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22

Duha, Sang Putra Immanuel. "PERANAN FAMILY ALTAR DALAM PENINGKATAN KUANTITATIF JEMAAT GEREJA BETHEL INDONESIA KASIH KARUNIA MEDAN." JURNAL IMPARTA 1, no. 1 (2022): 30–39. http://dx.doi.org/10.61768/ji.v1i1.3.

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In simple terms, the main purpose of Family Altar is family fellowship with Christ. Increased Bible knowledge. An important condition for the success of the Family Altar is a relaxed, warm and pleasant atmosphere. The Family Altar format should be flexible, not rigid. Changes must be able to occur according to changes in schedules, ages, interests of family members. FA (Family Altar) is the smallest container unit in a local church. In it there are pastoral functions, discipleship and preparation for the birth of a leader. Today the majority of rapidly growing churches are generally supported

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23

Heřmanský, Martin. ",,Domácí oltáříčky"." Lidé města 5, no. 4/12 (2003): 121–43. https://doi.org/10.14712/12128112.4334.

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Research of "household altars" in the Czech Republic or Czechoslovakia has mostly stood outside the central focus of anthropology. Although this is not a common phenomenon, it has turned out that it is relatively widespread, especially among the older generation. Based on a pilot survey of this cultural phenomenon, conducted in Prague and Černošín in the Tachov region in the summer 2003, one can describe the "household altars" on two levels: as a sample of artefacts connected with a deceased person and a sample of ritual acts, bound to the recollection of the late person within a family. In mo

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Sutor, Barbara. "Monakamer Altar." Schwäbische Heimat 67, no. 2 (2022): 202–9. http://dx.doi.org/10.53458/sh.v67i2.1704.

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Heath, Elaine A. "Altar Tears." Journal of Religion & Abuse 8, no. 1 (2006): 5–6. http://dx.doi.org/10.1300/j154v08n01_02.

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Pinkard, Michelle J. "Altar Call." Callaloo 35, no. 4 (2012): 884. http://dx.doi.org/10.1353/cal.2013.0031.

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Moore, Rickie D. "Altar Hermeneutics." PNEUMA 38, no. 1-2 (2016): 148–59. http://dx.doi.org/10.1163/15700747-03801004.

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This paper attempts to contribute to the current discussion on pentecostal biblical hermeneutics by offering some fresh reflections on the topic that are primarily focused upon one of the most frequently mentioned and distinguishing characteristics of pentecostal biblical interpretation, namely, the experience of encountering God through the biblical text.

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28

Wiemann, Elsbeth. "Wildensteiner Altar." Rundbrief, no. 24 (January 26, 2023): 23–29. http://dx.doi.org/10.53458/rb.vi24.5178.

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Bickhoff, Nicole. "Herrenberger Altar." Rundbrief, no. 27 (January 26, 2023): 28. http://dx.doi.org/10.53458/rb.vi27.5160.

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30

Olianina, Svitlana. "A Spatial Iconographic Program of Ukrainian Baroque Iconostasis." Art Research of Ukraine, no. 21 (November 29, 2021): 52–59. http://dx.doi.org/10.31500/2309-8155.21.2021.254672.

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The purpose of this article is analysis of the iconographic programs of iconostasis created in the Baroque period in the main church complexes of Ukraine - St. Sophia of Kyiv and Kyiv Pechersk monastery. It found that the iconostasis of the side altars of St. Sophia and Assumption Cathedrals and the iconostasis of other churches located on the territory of the monasteries had thematic iconographic programs related to the dedication. These thematic programs do not include Deisis compositions and other images necessary for the year-round cycle of divine service. Instead, they are intended for a

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Kurbonov, Abdusamad. "ALTARS IN TEMPLES OF BRONZE AGE." JOURNAL OF LOOK TO THE PAST 24, no. 2 (2019): 83–88. http://dx.doi.org/10.26739/2181-9599-2019-24-12.

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It is scientifically illuminated about the Altar, the place of religious ceremonies in the early temples of Bronze Age in Central Asia, and structure of altars of the temples in ancient countries which Margiana and Bactria as well as that in the countries of the Ancient East in this article.

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Onderka, Pavel, and Vlastimil Vrtal. "Preliminary Report on the Twentieth Excavation Season of the Archaeological Expedition to Wad Ben Naga." Annals of the Náprstek Museum 43, no. 1 (2022): 79–106. http://dx.doi.org/10.37520/anpm.2022.006.

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The twentieth excavation season of the Archaeological Expedition to Wad Ben Naga primarily focused on the continued excavations of the so-called Isis Temple (WBN 300). The excavation focused on the area in the rear of the temple explored by the Royal Prussian Expedition in 1844. Altogether ten rooms were revealed which allowed the assessment of the whole complex inner disposition of the temple. During the excavation, various pieces of the original cultic equipment were recovered, including pieces of Meroitic statuary and a new lion altar (Altar D). The original locations of the so-called Altar

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33

Aprilia, Ana. "Spiritualitas Personal Pelayan Dalam Membangun Spiritualitas Jemaat." Jurnal Lentera Nusantara 4, no. 1 (2024): 96–113. https://doi.org/10.59177/jln.v4i1.327.

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The background of this study is taken from the urgency of the role of altar servers in the implementation of church worship, especially in GPIBI Persahabatan Solo. Altar servers, as individuals who have the responsibility of leading and directing the liturgy, not only play a technical role, but also a spiritual one. They have a central role in creating a sacred atmosphere that supports the spiritual experience of the congregation during worship. The quality of the altar server's personal spirituality is believed to influence the depth and quality of the congregation's worship, as the altar ser

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Silva, Jerônimo Pereira. "Introibo ad altare Dei (Sl 42,4). Uma antífona para “com-pose” a procissão da comunhão." Revista Eclesiástica Brasileira 80, no. 316 (2020): 409. http://dx.doi.org/10.29386/reb.v80i316.2054.

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Desde a Antiguidade a lex orandi da Igreja selecionou versículos da Sagrada Escritura (lectio divina), que, depois de artisticamente musicados (lex canendi), se tornaram formas rituais (lex celebrandi) chamadas “antífonas”. A celebração eucarística é ritmada por três antífonas: da Entrada; do Ofertório e da Comunhão. O presente artigo, dividido em três partes, desenvolve um estudo sobre a terceira delas. Na primeira parte, o Autor apresenta a Antífona da Comunhão in genere e nas segunda e terceira trata especificamente da Antífona da Comunhão ad libtum para as missas do Comum da Dedicação das

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Prasetya, Ignasius Gede Aldo Dani, and I. Wayan Mudra. "Kajian Semiotika C.S. Pierce pada Salib Altar Interior Gereja Katolik Roh Kudus Katedral Denpasar Bali." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 8, no. 02 (2022): 156–67. http://dx.doi.org/10.33633/andharupa.v8i02.4394.

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Abstrak Gereja Katolik Roh Kudus Katedral Denpasar memiliki simbol yang digunakan sebagai dekorasi interior. Penelitian ini bertujuan untuk menjelaskan dekorasi salib Gereja Katolik Roh Kudus Katedral Denpasar Bali dengan teori C.S. Peirce. Penelitian ini menggunakan pendekatan deskriptif kualitatif, dengan metode pengumpulan data observasi, wawancara, dan dokumentasi. Sumber data utama penelitian ini adalah Salib Altar pada salib Gereja Katolik Roh Kudus Katedral Denpasar. Hasil penelitian menunjukan bahwa salib altar gereja tersebut menyerupai bentuk Kayon Bali. Salib altar ini ditempatkan d

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Tavares, Menino A. S. M. P., S. Rajagopalan, Satish J. Sharma, and António P. O. Carvalho. "The Effect of Source Location, Posture and Language on Speech Intelligibility in Goan Churches." Building Acoustics 16, no. 3 (2009): 283–97. http://dx.doi.org/10.1260/135101009789877013.

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The results presented here are based on field measurements carried out in six Catholic churches (Goa, India). Rapid Speech Transmission Index ( RASTI) and Subjective Speech Intelligibility ( SSI) measurements were made in four different seating zones of a church for three speech source locations (altar, pulpit, high altar), two languages (English, Konkani) and two postures (standing, sitting). The effects of language and postures were not significant. The altar location and the sanctuary of the church were preferable for speech intelligibility. Although the altar location showed better average

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Meshel, Naphtali S. "Alter-Altars." Journal of Biblical Literature 143, no. 3 (2024): 395–416. http://dx.doi.org/10.15699/jbl.1433.2024.2.

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Abstract Biblical ritual texts reflect a distinction between “consumptive” fires, for the incineration of sacred materials upon an altar, and “destructive” fires, for the incineration of leftovers at a distance from the cultic center. The dichotomy is evidenced by differences in terminology, geography, and legal detail, such that the former are characterized by a high degree of ritualization, and the latter by a low degree of ritualization. Yet this dichotomy reveals an instability inherent in ritual sacrifice: offering materia sacra inevitably generates leftovers, which occupy an ambiguous pl

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Soediro, Melkisedekh Bagaskara Agung, and Justin Niaga Siman Juntak. "PERAN FAMILY ALTAR DALAM PERKEMBANGAN IMAN REMAJA PEMUDA DI GEREJA BETHANY PASAR LEGI SURAKARTA." ACADEMIA: Jurnal Inovasi Riset Akademik 5, no. 2 (2025): 207–18. https://doi.org/10.51878/academia.v5i2.6227.

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Social media has posed a significant challenge to Christian youth discipleship in today’s digital age. This study is based on the growing disinterest among young people in church services and ministries, as observed at Bethany Church Pasar Legi, Surakarta. The research focuses on analyzing the role of the Family Altar as a small group community designed to nurture youth faith and spiritual involvement. This study employed a descriptive qualitative method with data collected through interviews, observations, and documentation. Informants included youth members, ministry leaders, and Family Alta

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Huerta-Espino, Julio, Ravi P. Singh, H. Eduardo Villaseñor-Mir, Ernesto Solís-Moya, Eduardo Espitia-Rangel, and S. Gerardo Leyva-Mir. "TRANSFERENCIA DEL GEN Lr14a DE TRIGOS HARINEROS A TRIGOS CRISTALINOS Y EXPRESIÓN DE LA RESISTENCIA A ROYA DE LA HOJA." Revista Fitotecnia Mexicana 33, no. 1 (2010): 29. http://dx.doi.org/10.35196/rfm.2010.1.29.

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El origen del gen de resistencia Lr14a a roya de la hoja causada por Puccinia triticina E. es el trigo tetraploide ‘Yaroslav emmer’ (Triticum dicoccum L.). En México, todas las razas de trigo harinero (T. aestivum) importantes son virulentas a este gen. Sin embargo, las razas que atacan trigos cristalinos o duros son avirulentas a Lr14a. Se ha determinado la presencia de Lr14a en trigo harinero y en especies silvestres tetraploides, pero no en trigos cristalinos o trigos duros (T. turgidum spp durum). El gen Lr14a se transfirió a la variedad cristalina ‘Altar C84’ a partir de la cruza de ésta

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FINCHAM, KENNETH. "THE RESTORATION OF ALTARS IN THE 1630s." Historical Journal 44, no. 4 (2001): 919–40. http://dx.doi.org/10.1017/s0018246x01002114.

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The nationwide campaign to erect railed altars in the 1630s has always been seen as a central feature of the Laudian reformation of the Church. Recently some scholars have denied its close association with Laud and Arminian sacramentalism, and have proposed that the policy originated with Charles I, to be reluctantly endorsed by his archbishop. As for its enforcement, Julian Davies has identified at least five variants which were implemented in the dioceses. This article argues instead that Archbishops Neile and Laud were centrally involved in the introduction of the railed altar, and that the

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Sitepu, Abdi Guna, Mika Gregorius Nainggolan, and Erikson Simbolon. "NILAI-NILAI SPIRITUALITAS SANTO TARSISIUS DALAM TUGAS PELAYANAN SEBAGAI MISDINAR DI PAROKI SANTO YOHANES PENGINJIL MANDALA." JPAK: Jurnal Pendidikan Agama Katolik 25, no. 1 (2024): 76–88. https://doi.org/10.34150/jpak.v25i1.750.

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This study aims to understand the spiritual values of Saint Tarcisius and the spiritual values of altar servers in the Saint John the Evangelist Mandala Parish. Altar servers are Catholic teenagers who demonstrate high dedication in serving the Church and assisting priests during the Eucharistic Celebration without expecting any reward. The spiritual values held by the altar servers include serving with love and selflessness, humility, and being responsible for the entrusted tasks. This study employs a qualitative approach. The research location is in the Saint John the Evangelist Mandala Pari

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MAHRT, WILLIAM PETER. "Responsory prosae and the post-Christmas ‘Choir Solemnities’ at Salisbury Cathedral." Plainsong and Medieval Music 25, no. 1 (2016): 27–36. http://dx.doi.org/10.1017/s0961137115000212.

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ABSTRACTThe Christmas octave in the Sarum rite included the singing of prosae on Christmas Day and on the three days following Christmas – the feasts of St Stephen, St John the Evangelist and the Holy Innocents. After the Vespers preceding each of these three days, a procession was made to an appropriate altar in the church, during which a responsory was sung with its prosa and wordless melismas after each prosa verse, with two responsory prosae based upon the melody from Christmas. These processions featured, in turn, the deacons, the priests and the choirboys, vested in silken copes and carr

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Zendrato, Darman Syah Putra, Martina Novalina, Anwar Three Millenium Waruwu, and Eddy Simanjuntak. "Family Altar sebagai Upaya Pembentukan Karakter Anak dalam Menghadapi Tantangan di Era Digital." KHAMISYIM: Jurnal Teologi dan Pendidikan Kristiani 1, no. 1 (2024): 15–27. https://doi.org/10.71415/jkmy.v1i1.2.

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character of children in an era of rapid technological advancement. With the premise that learning shapes human character, especially inquisitive children, this research aims to identify the significance of the Family Altar as a foundation for character formation in accordance with the example set by Christ. The methodology employed is a literature review, emphasizing character development in the era of globalization. The research findings indicate that the Family Altar, as a cell group within the church, facilitates family interaction and fosters a relationship with Christ. The family, as a d

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Goja, Bojan. "Oltar Sv. Jeronima u crkvi Sv. Šime u Zadru i radionica Bettamelli." Ars Adriatica, no. 2 (January 1, 2012): 203. http://dx.doi.org/10.15291/ars.449.

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Based on the book, the full title of which is Registro delle Administrationi de Signori Governatori di San Gerolimo della Nation Oltramarinna in Dalmatia et Albania, this paper discusses the altar of St Jerome in the church of St Simeon at Zadar. It is already known that the altar was commissioned and maintained by the confraternity of Croatian and Albanian soldiers (Croatti a cavallo and Soldati Albanesi) founded in 1675 at Zadar, who were in the service of the Venetian Republic. New archival research has established that on 26 September 1694 the confraternity authorized the expense of 200 si

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Kipnis, Laura. "Feminism’s Altar Ego." Afterimage 18, no. 2 (1990): 18. http://dx.doi.org/10.1525/aft.1990.18.2.18.

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Taylor, Eleanor Ross. "At the Altar." Grand Street 8, no. 2 (1989): 12. http://dx.doi.org/10.2307/25007193.

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Williams, C. J. F. "Throne and Altar." New Blackfriars 74, no. 876 (1993): 497–501. http://dx.doi.org/10.1111/j.1741-2005.1993.tb07619.x.

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Majewski, Karen. "Little Altar Boy." Polish Review 69, no. 4 (2024): 135–37. http://dx.doi.org/10.5406/23300841.69.4.28.

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Chappell, Fred. "The Deserted Altar." Appalachian Heritage 34, no. 1 (2006): 112. http://dx.doi.org/10.1353/aph.2006.0010.

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Sierra de la Calle, Blas. "Altar de Krishna." Archivo Agustiniano 107, no. 225 (2023): 485–544. http://dx.doi.org/10.53111/aa.v107i225.1135.

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La investigación, presenta las diez encarnaciones o “avataras” de la divinidad hinduista, Vishnu y, estudia detalladamente el altar doméstico de Krishna del Museo Oriental, obra realizada en Thanjavur, Sur de la India, a mediados del siglo XIX.

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