"Measuring , the narthex is the part of the Round Church which has survived in best shape, as some of its walls reach . Its two turrets have a diameter of ; each has an entrance facing the interior of the narthex and three windows. The higher reaches of the towers were reached via spiral stairways, archaeological remains of which have been unearthed in the north turret. There are two pairs of columns inside the narthex, supporting its second floor, which is accessible from the north tower. The columns divide the narthex into three naves and mark the way from"
"black basalt with lighter sandstone trim. The main portion of the building is a gable-roofed auditorium (sanctuary), the main access to which is via a narthex. There are three entrances to the narthex. Two include an arched doorway topped by a pediment, with a trio of stained-glass windows (and smaller, accent windows) above the large wooden doors. One of these entrances faces Alder Street at the base of the tower, at the building's northeast corner. The other, at the building's southeast corner (the opposite end of the narthex), faces 12th Avenue. The third narthex entrance is on the south side"
"single-storeyed narthex flanked by projecting gabled entrance vestibules at either end, with the gable end of the nave behind. Each entrance has a pointed arch with expressed drip mould, paired timber panelled doors, and is framed by low engaged columns. Each gable is framed by buttresses crowned by gablets, and the top section of the gable has stone tracery. The northern entrance vestibule has a projecting curved section at the rear. The narthex has two lancets with expressed drip moulds and window surrounds, and is surmounted by a rendered balustrade parapet. The gable end of the nave has an inset"
"narthex. The church building is a rectangular structure, built on a raised basement, that follows a basilica plan. The exterior is composed of red brick, and the early Gothic Revival style exhibits Tudor Revival elements. The building is five bays in length and divided by buttresses capped with white stone weatherings. It is also three bays wide. The shallow, gable roof features a narrow wood cornice. The three-stage central tower on the main facade includes the primary entry on the lower level and a belfry at the top. It is capped with a crenelated parapet. The door at the primary"
"window in the center of the third level with a flat brick arch. Stone steps lead to the large arched wood double doors painted red with large elaborate black iron hinges. The interior is rectangular in plan with a center aisle. The semicircular apse at the south end of the building is partially cut off from the nave by banks of organ pipes at either side. A narrow rectangular open narthex at the north end with a small enclosed winder stair on the west wall leads to the balcony. The narthex is 10' x 44'8""; the nave is 60'6"" x"
"same. The Church building is divided into three main parts: the narthex (vestibule), the nave (the temple proper) and the sanctuary (also called the ""altar"" or ""holy place""). A major difference of traditional Orthodox churches from Western churches is the absence of any pews in the nave. In some ethnic traditions of Orthodoxy, it was deemed disrespectful to sit during sermons. However, in some churches in the West and particularly in the diaspora churches in the United States, pews and kneelers were introduced, under the influence of other Christian denominations. The narthex is the connection between the Church and the"
"side of the central church area there is an entrance hall (Narthex), that extends the full width of the church. Originally there were, besides the main entrance in the Western wall of the church, two side entrances; one to the North and one to the South. The southern part of the Narthex was, however, separated from the interior part of the church, and now exists as a small secondary room, and is only accessible from outside, through the southern entrance. In the southeast, the interior corner of the cross shape is filled out by an annex, which was built in"
"to the base of the tower has been closed. It may be accessed instead via an entrance from the narthex. The space is used for storage. It retains its original hardwood narrow-board flooring and gas chandelier of brass and frosted glass with a Greek key design. A ladder leads to the upper stages of the tower. North of the apse is a room called the lecture hall on the original plans. It has dark wooden walls and sliding doors, in contrast to the ceiling's golden oak curved rafters that converge at a decorative element. Other features include chamfered door stiles,"
"residential structures. The architectural articulation of the distinct spaces of a cross-in-square church corresponds to their distinct functions in the celebration of the liturgy. The narthex serves as an entrance hall, but also for special liturgical functions, such as baptism, and as an honored site of burial (often, as in the case of the Martorana in Palermo, for the founders of the church). The naos is the space where the congregation stands during the service. The sanctuary is reserved for the priests. The altar stands in the central bay, or bema, which is sometimes provided with a ""synthronon"", or bench,"
"encaustic tiled porch with a concrete stair leading to the narthex, or outer chamber of the church auditorium. The narthex houses many fine architectural details including three stained glass panels in semicircular arched openings, supplied by FW Ashwin & Co. Three timber doors in the southern wall of the narthex provide entry to the auditorium. The church interior is in the traditional ecclesiastical cruciform plan, with shallow transepts formed at the southern end and expressed externally by the gabled projections to Ann Street and on the opposite side of the building. The body of the church is entirely open with"
"through the esonarthex forming a western ante-chamber to the parecclesion. The mosaics that decorate the exonarthex include: The esonarthex (or inner narthex) is similar to the exonarthex, running parallel to it. Like the exonarthex, the esonarthex is 4 m wide, but it is slightly shorter, 18 m long. Its central, eastern door opens into the naos, whilst another door, at the southern end of the esonarthex opens into the rectangular ante-chamber of the parecclesion. At its northern end, a door from the esonarthex leads into a broad west-east corridor that runs along the northern side of the naos and into"
"simple design of the tower gives it dignity and strength, and its separate placement in relation to the church proper provides balance to the building. The church proper, located on the northeastern corner of the property, is set on a platform reached from the street by a set of nine steps. The entrance leads to the narthex, to the right of which is a coatroom and to the left of which are stairs that lead to the gallery. Three doors connect the narthex to the church nave, one to the central aisle, the second to the side aisle, and the"
"with specified qualifications based on what the apostles said in the Bible. These qualifications include how big the temple should be. The Church building is divided into three main parts: the narthex (vestibule), the nave and the sanctuary (also called the ""altar"" or ""holy place""). The narthex is where catechumens and non-Orthodox visitors were traditionally asked to stand during services. It is separated from the nave by ""The Royal Gate"". On each side of this gate are candle stands (menalia) representing the pillars of fire that went before the Hebrew people escaping from Egypt. The nave is where most of"
"bays in the corner are usually groin-vaulted. The spatial hierarchy of the three types of bay, from the largest central bay to the smallest corner bays, is mirrored in the elevation of the building; the domed central bay is taller than the cross arms, which are in turn taller than the corner bays. To the west of the naos stands the narthex, or entrance hall, usually formed by the addition of three bays to the westernmost bays of the naos. To the east stands the bema, or sanctuary, often separated from the naos by templon or, in later churches, by"
"to be installed in Fall 2018. The Endo-Narthex, located between the Narthex and the Nave, is the site of the confessionals. The design for the four stained-oak confessionals was inspired by a traditional precedent seen in Italy by Bishop Michael Burbidge, updated to accommodate modern norms. The design theme for the narthex was inspired by the courtyards of antiquity, featuring the classical orders of Doric and Ionic, and a barrel vault. In this transition space from indoors to outdoors, the narthex, similar to an open atrium, is expanded to allow the congregants to gather and greet one another prior to"
"adjacent to it were discovered in the north-eastern part of the temple that this building could be considered as the primary variant of the narthex, which later became one of the integral elements of the Christian temples. This temple also draws attention to the decorative stones which confirm the architectural and artistic character of the building. The stone reliefs of this temple are very close to the ornament of polytheistic temples. The Temple 3 was built on the site of the Temple 1. This temple is one-story basilica with worship hall. On the eastern wall of the temple, there is"
"a new, all-the wall-long narthex was constructed. All the mentioned outbuildings are joint with the interior by the broad arcs, hacked in the walls in the same period. The necessity to merge the mainspace with new outbuildings revealed a new problem: the old massive building was dipped under ground by its own weight, the level of floors in the old building and outbuildings were different. The solution was radical: the old building's level of floor was raised by 1 meter. The described exterior has been preserved till the present day. The original look was distorted by making the windows more"
"and Lincoln Cathedral. A ruined version can be seen at Glastonbury Abbey. Galilee (church architecture) A galilee is a chapel or porch at the west end of some churches where penitents waited before admission to the body of the church and where clergy received women who had business with them. The first reference to this type of narthex is most likely found in the ""consuetudines cluniacensis"" of Ulrich, or the ""consuetudines cenobii cluniacensis"" of Bernard of Cluny, (See ""De processione dominicali""). Since the definition of this type of narthex is ambiguous, this ecclesiastical structure can not be uniquely attributed to"
"at the west end (comprising its narthex at ground level, and a two-level tower above), a three-bay nave with a south porch and a vestry projecting to the south, and a chancel. The projecting west front of the narthex has a central window with four casements and a two-light window on each side; above the window is a timber-framed gable, and the lower stage of the tower contains a bay window with four mullioned and transomed lights on the front and similar two-light windows on the sides; above the bay window is another timber-framed gable. The top stage consists of"
"that a larger building was deemed necessary, in order to accommodate all the activities that started up during this time. The result was the building of the wrap-around narthex at the west end of the building, designed by Robert Magure & Keith Murray Architects, containing increased office space, more toilet facilities and improved kitchen and meeting room facilities. The size of the congregation at the start of the 21st century demanded extra space for church activities and meetings, with a range of possibilities considered – including digging a crypt basement beneath the nave, buying adjacent properties, and building on land"
"supported by consoles. East-west wide arches are not extended on one level up to the north and south walls, but are only reinforced side cap for a width of 60 cm, their lateral side being at a higher level. Above the narthex, the square bell tower opens, having two niches on each side, in arcades with semicircles each having one tie of oak. The tower access door is in the northwest corner. The stairs are designed in the northern wall, which was particularly built thicker. Between the nave and narthex there is a wall with an arched opening in the"
"a multitude of vaults with piers in between. In total, there are fourteen vaults: four on each of the courtyard's three walls and one each where the west wall meets the sides. The atrium includes an equal number of round limestone columns each standing opposite one of the piers, apart. The rectangular narthex constitutes the middle part of the building, between the atrium and the cella, and serves as the lobby of the church. It lies directly east of the atrium, through a wide gate flanked by a couple of high circular turrets. Mavrodinov likens the narthex of the Round"
"from its north. Inside, the tower base's high arch makes it a narthex, with a glazed wood screen setting it apart from the nave. The white marble baptismal font is located in the center aisle a short distance from the nave. The floor is terra cotta panels set in cast concrete. Walls are done in unpainted stone, cast stone and plaster scored to resemble stone. Dark stained oak panels complement the similar pews. The west aisle leads to a chantry altar and aumbry. Behind it is the organ chamber. A wood screen similar to the narthex screen sets off the"
"It is a two-story bluestone structure with slate roof, mostly shielded from view by the church and adjacent buildings. A similar projecting gabled pavilion, with battered corners, on the Main Street side frames the main entrance. Two bluestone steps with iron railings lead up to a pair of slightly recessed paneled wooden doors topped by a fanlight with tracery. The limestone surround is topped with a keystone. Limestone is also used for the corner bases and courses at ground level and continuing the cornice line at that level. Similarly appointed but smaller doors flank the main entrance. In the narthex"
"the structure. All three entry doors open into the same narthex, with stairs leading to a full-width platform where doors opposite them open into the sanctuary. On the north and south sides are doors with stairs leading to the choir loft above. All doors in the narthex are paneled double doors with transoms in simple classical surrounds topped with entablatures. Two aisles divide the wooden pews, on a carpeted floor. To their west, at the nave, is a large wooden table on a platform, with a Gothic Revival baptismal font next to it. A knee wall separates it from an"
"the narthex entrance to the gates of the rotunda. The round cella is the easternmost and most important part of the church, as it was where the liturgy was performed. The diameter of the rotunda is . It is accessed through three gates, all from the narthex. It was entirely covered by a dome. Twelve vaults, semicircular as seen from the inside and pentagonal on the outer wall, were constructed north and south of the rotunda's eastern part, the apse, which itself fits into one of the vaults. Large buttresses reinforce the structure both inside and outside. A circle of"
"Westwork A westwork () is the monumental, west-facing entrance section of a Carolingian, Ottonian, or Romanesque church. The exterior consists of multiple stories between two towers. The interior includes an entrance vestibule, a chapel, and a series of galleries overlooking the nave. A westwork is usually broader than the width of the nave and aisles. It is sometimes used synonymously with narthex. The westwork of Corvey Abbey (873–885), Germany, is the oldest extant example. The frescos (originally of the 9th century) inside the westwork show scenes from the Odyssey. The King, later the Emperor, and his entourage lodged in the"
"Galilee (church architecture) A galilee is a chapel or porch at the west end of some churches where penitents waited before admission to the body of the church and where clergy received women who had business with them. The first reference to this type of narthex is most likely found in the ""consuetudines cluniacensis"" of Ulrich, or the ""consuetudines cenobii cluniacensis"" of Bernard of Cluny, (See ""De processione dominicali""). Since the definition of this type of narthex is ambiguous, this ecclesiastical structure can not be uniquely attributed to Cluny with certainty. Examples of galilees remain at Durham Cathedral, Ely Cathedral,"
"viewer to the purpose of the edifice. Two monumental angel sculptures loom over the façade of the main entrance, which leads into a spacious and commodious narthex or vestibule whose walls are lavishly lined with Notre Dame and Oriental marble on a base of Red Levanto, while the floor is paved in ceramic tiles. Beyond the narthex is the spacious and well-lit nave which can accommodate a congregation of up to twelve hundred worshipers. To a height of ten feet above the floor and against the entire exterior wall a wainscot of rich American Black walnut has been installed, a"
"on the ground floor. Over the main door is a cartouche with the sculpted ""1888"". The main door opens to a small nartex, that corresponds to the perimeter of the tower, that extends to the windbreak. On either side of the narthex is a compartment accessible from the nave: opposite the epistole side is the baptistery and opposite it is winding staircase that leads to the high-choir and belry. The choir, in wood, occupies the area at the front of the nave (over the windbreak) and is counter curved, protected by a guardrail of balustrades. It is preceded by a"
"meters wide and the external walls are one meter thick. It is a simple, straight building, covered with natural stones and bricks. It consists of the narthex, the church room and the altar room, accessible only to the priests. The small windows lay the paintings, the carvings, the icons in a half-dark. All the walls are painted with biblical motifs or motifs of saints. The ceiling is made of wood and is shaped into different patterns, painted in different colors. Several chandeliers with wax candles hang from the ceiling. They are decorated with porcelain bowls and ostrich eggs. The floor"
"reflective surfaces maximize all light shone in the building. At night, the lights from outside combined with candles inside the Chapel are more than enough to illuminate the worship area. The entry to the outdoor narthex of the Chapel is created with a tent-like flap extending over the entry, creating an enclosed space that is still outdoors. The architecture also shifts the focus the building: the entrances to the Chapel face away from the center of the building and towards the tabernacle to remind all who enter that the central point of the Chapel is not the altar or the"
"of an earlier church. The tower is formed in three stages with buttressed corners and a battlemented parapet. A stair turret is attached to the north-east corner and belfry windows are located on the top floor on each side. The narthex has a half-hipped roof with a restored three-lighted perpendicular gothic window set left of centre on the west face above the entrance door. Smaller two-lighted windows are positioned at low level in the north and south walls. The north and south aisles feature variously sized and detailed two-lighted decorated gothic windows on their flank and end walls. The centre"