high altar

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high altar

The primary altar in a church.
References in periodicals archive ?
While pilgrims were taken behind the altar to view the relics, the reliquaries were doubtless removed from the cupboards and placed on the high altar for appropriate liturgical events.
82] Casola's report also makes it clear that the nuns of San Zaccaria had arranged their church so that visitors were very welcome and could easily view and admire the many relics that were proudly housed in and around the high altar.
Before restoration in the early nineteenth century the inscription on the high altar read: "IN.
The same chronicle indicates that the monument was removed from the church during renovations in 1460 and temporarily placed in the portico of the church until it was reinstalled un der the new high altar in 1474 [as reported in Paoletti, 1:61 and 69]).
Although Donatello's large bronze statues of the Madonna and Saints would presumably have been at least partially visible above the choir enclosure to viewers standing beyond the rood screen, the most unobstructed views of the high altar from the ambulatory were most likely obtained by looking in from the side entrances to the choir, that is, by standing with one's back to the radial chapels of St.
The administrative committee that oversaw the Crucifix and, slightly later, the high altar commissions was known as the Arca even though it supervised all aspects of the Santo's maintenance and decoration, not just those directly related to the chapel housing the tomb (or arca) of Saint Anthony.
These two groups - the elite citizens of Padua and the Conventual friars - were not only involved in supervising Donatello's high altar for the Santo, but were also probably the most important original beholders of the complex's statues and reliefs.
The friars could enter the ambulatory directly from the cloisters to the south, and they would have regularly visited the eastern portion of the church beyond the rood screen and the interior of the choir enclosure in order to celebrate the numerous daily ofrices held at the high altar and, presumably, in the radial chapels.
Giustina, but this triumvirate of holy patrons were reunited as nearly life-size bronze figures on the new high altar commissioned in the mid-1440s from Donatello to adorn the key civic sanctuary of the Santo.
The impact of this civic iconography was heightened by the specific materials used in creating the entire high altar complex.
In an era of Venetian domination, the elite Paduans elected to serve on the Arca in particular could well have sought to use the new high altar in part as a general reminder for themselves and their political masters of the strength and wealth of the local economy, which was based on land ownership, trade, and the wool industry.
46) Perhaps, then, apparent Venetian compliance with the high altar project should be linked to the Republic's overall strategy of promoting local goodwill and diffusing elite resentment by seeking to involve upper-class Paduans at least symbolically in local affairs as much as possible.

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