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Narthex

The narthex is an architectural feature in Christian churches, serving as an entryway or vestibule that connects the exterior entrance to the nave, the main body of the church.^[1] Deriving from the Greek word for "enclosure," it functions as a transitional space between the secular world outside and the sacred interior, often used historically for gathering before or after services and as a designated area for catechumens or penitents who were restricted from full access to the nave during worship.^[2]^[3] In early Christian basilicas, the narthex typically preceded the nave and sometimes followed an atrium, forming part of a sequence that emphasized ritual progression into the holy space.^[3] By the medieval period, it evolved into a low projection at the western end of the church, resembling a porch and often narrower than the adjacent nave and aisles, though it could occasionally blend with more elaborate structures like the westwork.^[1] In Byzantine monastic churches from the 9th to 12th centuries, the narthex gained prominence as an entrance room, sometimes incorporating adjacent spaces for liturgical or communal purposes.^[4] Regional variations include the Armenian gavit' or jamatun, a square hall attached to the western facade for assembly.^[5] Overall, the narthex underscores themes of inclusion, preparation, and symbolic threshold in ecclesiastical design across traditions.

Terminology

Etymology

The term "narthex" originates from the Ancient Greek word νάρθηξ (nárthēx), denoting the hollow, tubular stalk of the giant fennel plant (Ferula communis), whose structure evoked imagery of a passageway or enclosed conduit.^[6]^[7] This botanical reference, possibly of pre-Greek substrate origin, transitioned into an architectural metaphor in Late Greek, where it described the vestibule or entrance porch of early Christian basilicas.^[6] In medieval Byzantine Greek, the term gained prominence as a specific designation for the church's entry space, with its application to ecclesiastical architecture attested by the 12th century in lexicographical works like the Etymologicum Magnum, though the feature itself appeared in church designs as early as the 4th century.^[8] Via Byzantine influence, it entered Latin as "narthex," facilitating its spread to Western European languages during the Renaissance and post-medieval periods.^[9] The word reached English in the late 17th century, with the earliest recorded uses around 1673 in ecclesiastical and architectural contexts, reflecting renewed scholarly interest in classical and Byzantine forms.^[9] Spelling and pronunciation evolved modestly across Romance languages: in French, it remains "narthex" (pronounced /naʁ.tɛks/), while in Italian, it appears as "nartece" (/narˈte.tʃe/), preserving the Greek root with phonetic adaptations.^[7] In Byzantine church architecture, the exonarthex serves as the outer vestibule, positioned before the inner esonarthex to create a transitional entry space parallel to the facade, while the esonarthex directly adjoins the nave; together, these form a multi-layered narthex complex that enhances the liturgical progression from exterior to sacred interior.^[4] Western equivalents include the vestibule, a enclosed entrance hall in Romanesque and Gothic churches that parallels the narthex's role in accommodating gatherings before entering the nave.^[10] In simpler basilicas, the porch functions as an open or semi-enclosed anteroom at the west end, providing weather protection and initial separation from the main body of the church.^[3] The galilee, particularly in English cathedrals, extends as a chapel-like vestibule at the western end, often serving processional starts and evoking biblical themes while mirroring narthex functions.^[11] In Eastern Orthodox traditions, the prónaos denotes the antechamber immediately preceding the naos (nave), overlapping with the narthex but specifically emphasizing its role as a preparatory space for worshippers. This term highlights Greek linguistic influences on Orthodox architecture, distinct from broader Western usages. To avoid confusion with the pronaos of pagan temples—a front porch enclosing the cella entrance—Christian adaptations repurposed such spaces into narthexes after the 4th century, transforming ritual orientations from exterior altars to interior congregational worship.^[12]

Historical Development

Origins in Early Christianity

The emergence of the narthex in early Christian architecture occurred following the Edict of Milan in 313 CE, which granted legal tolerance to Christianity under Emperor Constantine, enabling the construction of public churches. This development marked a shift from clandestine worship to formalized basilical structures, where the narthex served as a western vestibule or entrance hall to accommodate the growing Christian community while maintaining liturgical distinctions. Early basilicas adapted elements from Roman civic buildings, such as the atrium or portico, to create this transitional space, ensuring separation between the unbaptized and the fully initiated faithful during worship.^[13] A prime example is Old St. Peter's Basilica in Rome, constructed between approximately 324 and 349 CE under Constantine's patronage over the believed tomb of Saint Peter. The narthex here functioned to exclude catechumens—unbaptized individuals undergoing instruction—and public penitents from the Eucharist, reflecting the church's role in regulating access based on spiritual status. This separation aligned with the catechumenate system, a structured process of preparation for baptism that included moral and doctrinal teaching, often lasting years in the 4th century. The Apostolic Constitutions, a late 4th-century Syrian text (c. 380 CE), describes liturgical practices where catechumens and penitents were dismissed after preparatory prayers, underscoring the narthex's practical utility as a space for their participation without full entry into the nave.^[13]^[14] Other key early sites illustrate this adaptation. The Basilica of Sant'Ambrogio in Milan, founded around 379 CE by Bishop Ambrose and consecrated shortly thereafter, incorporated a vestibule-like atrium that evolved into a narthex function, drawing on Roman architectural precedents to support the city's burgeoning Christian population. Similarly, the design of Roman basilicas, such as the Basilica of Maxentius (begun c. 308 CE and completed by Constantine), influenced Christian builders by providing models for spacious entry areas that could handle crowds while preserving sacred boundaries, though it was not directly converted into a church. These structures highlight how the narthex addressed both social needs—integrating converts in a post-persecution era—and liturgical imperatives in the 4th and 5th centuries.^[15]^[13]

Byzantine and Medieval Evolution

During the Justinian era of the 6th century, Byzantine church architecture saw the introduction of the double narthex system, comprising the inner esonarthex and the outer exonarthex, which provided a more graduated transition from the secular world to the sacred interior. This innovation enhanced spatial separation, allowing for controlled access and accommodating elaborate imperial processions during liturgies, as evidenced in the Hagia Sophia in Constantinople, completed in 537 CE under Emperor Justinian I.^[16] The design reflected the era's emphasis on imperial patronage and ritual hierarchy, building on earlier basilica precedents to support the grandeur of Orthodox worship in the capital.^[17] In the medieval period, particularly from the 10th century onward, monastic communities influenced further refinements to the narthex, leading to elongated forms that extended beyond purely transitional roles. Monasteries on Mount Athos, such as those established in the 10th-11th centuries, adapted these spaces into multifunctional areas serving as refectories or assembly halls for communal gatherings and meals, integrating practical monastic needs with liturgical preparation.^[18] This evolution underscored the narthex's versatility in Eastern Christian contexts, where it balanced spiritual symbolism with the demands of isolated monastic life.^[19] Iconographic programs in narthexes also proliferated during this time, with mosaics and frescoes emphasizing eschatological themes to remind penitents of judgment and moral preparation before entering the nave. In the Monastery of Hosios Loukas in Greece (10th-11th century), the narthex features mosaics depicting the Last Judgment, including Christ as judge, which reinforced the space's penitential function through vivid visual theology. Such decorations, common in Middle Byzantine churches, heightened the narthex's role as a threshold of spiritual reflection. The prominence of the narthex in Byzantine architecture waned after the Ottoman conquest of Constantinople in 1453, as many churches were converted or repurposed, disrupting traditional building practices. Nonetheless, the double narthex and its associated elements persisted in Orthodox traditions, particularly in regions like Greece and Russia, where they continued to define church layouts and liturgical spaces into the post-medieval era.^[20]

Adoption in Western Architecture

The adoption of the narthex in Western architecture began during the Carolingian Renaissance, where early Christian and Byzantine influences were revived to symbolize imperial and spiritual renewal under Charlemagne. Simplified vestibules, often integrated into monumental westworks, served as entry spaces rather than the more elaborate double-narthexes seen in Eastern models. This adaptation emphasized unified access to the sacred space, drawing from Byzantine prototypes encountered through Charlemagne's court and artifacts from Ravenna.^[21]^[22] In the 8th and 9th centuries, Carolingian builders transformed the narthex concept into functional yet restrained entrance areas, as exemplified by the westwork at Corvey Abbey (c. 873 CE), which incorporated entry functions aligned with imperial symbolism. Later, at sites like Aachen Cathedral, Gothic additions including a narthex tower in the 14th century were introduced as a new feature to accommodate pilgrims, enhancing access to the original centralized Palatine Chapel without the layered complexity of Eastern designs.^[22]^[23]^[24] During the Romanesque period (10th–12th centuries), the narthex evolved into more elaborate porches and enclosed vestibules, integrating sculptural programs for didactic purposes and accommodating growing monastic communities. At Cluny Abbey in France, the second church (Cluny II, ca. 981–1040) featured a prominent narthex with twin western towers, serving as a transitional zone for communal gatherings and processions before entering the nave. This design influenced subsequent Romanesque structures, where porches often extended the narthex function outward, paving the way for Gothic innovations in spatial flow and liturgical movement.^[25]^[26]^[27] In the Renaissance and Baroque eras (16th–17th centuries), the narthex was reduced to grand porticos, shifting emphasis from penitential segregation to aesthetic grandeur and universal accessibility, reflecting the era's humanistic ideals and Counter-Reformation spectacle. St. Peter's Basilica in the Vatican exemplifies this, with its expansive portico (designed by Carlo Maderno, 1608–1612) functioning as a narthex-like atrium adorned with stucco, mosaics, and statues to evoke awe and prepare visitors for the interior's opulence. This ornamental focus diminished the original rite of passage, prioritizing visual drama over functional division.^[28]^[29] Modern revivals in the 19th and 20th centuries incorporated neo-Byzantine elements in ecumenical Western churches, reviving the narthex as a symbolic vestibule amid broader liturgical reforms. Structures like Westminster Cathedral in London (1895–1903) adopted Byzantine-inspired vestibules to foster interdenominational unity, blending Eastern motifs with Western spatial needs. Following Vatican II (1962–1965), many Catholic designs simplified narthexes into open gathering spaces, emphasizing communal participation and flexibility over traditional barriers, as guided by liturgical documents promoting active involvement.^[30]^[31]

Architectural Characteristics

Layout and Structure

The narthex is typically positioned at the western end of the nave in church architecture, opposite the apse, functioning as a vestibule that spans the full width of the structure and creates a transitional zone between the exterior and the interior sacred space. In early Christian basilicas, it often consists of a single chamber, as seen in examples like Old St. Peter's Basilica in Rome, where it precedes the nave and connects to an atrium.^[3] In contrast, Byzantine and later designs frequently feature divisions into inner and outer narthexes separated by colonnades or walls, such as at the Monastery of Megisti Lavra on Mount Athos, where the outer narthex is expanded and flanked by subsidiary chapels.^[32] Access to the narthex and beyond includes multiple doorways, with a central portal leading from the inner narthex to the nave, and side entrances facilitating entry for penitents or to the aisles. These thresholds emphasize the symbolic passage into the naos, as illustrated in the Basilica of Arethousa in Macedonia, where the narthex divides into a central room accessing the nave and smaller northern and southern rooms entering the aisles.^[33]^[34] Scale and dimensions vary by context and period; expansive narthexes in large basilicas and cathedrals, like those in early Roman examples, integrate with broader atria and can extend across widths exceeding 30 meters, while compact versions in rural chapels or small Byzantine cross-in-square churches measure around 5-10 meters in depth, suited to modest congregations.^[3]^[32]

Decorative and Functional Elements

The narthex in Byzantine churches frequently incorporated structural elements such as arcades and columns for both support and aesthetic enhancement, with many columns consisting of reused spolia from earlier Roman or classical structures.^[35] Vaults were commonly employed in the narthex to provide overhead covering, as seen in middle Byzantine examples like Nea Moni on Chios, where low vaults contributed to the overall spatial division.^[32] Marble revetments, thin slabs of colored marble cladding the lower walls, added a luxurious finish, symbolizing the gemstone foundations of the heavenly Jerusalem and often utilizing rare materials like Imperial Porphyry from Egypt.^[36] Decorative features in narthexes emphasized religious themes through frescoes and mosaics, which adorned walls and vaults to prepare entrants for the sacred interior. In the 12th-century church of Saint Panteleimon at Nerezi, the narthex originally featured frescoes, though much has been lost to damage, illustrating the common use of painted scenes in this transitional space.^[37] Mosaics, particularly in middle and late Byzantine periods, depicted narrative cycles such as the life of the Virgin Mary or resurrection scenes, as in the inner narthex of the Kariye Camii (Chora Church) in Constantinople, where monumental compositions culminated in domed panels.^[38] Functional additions to the narthex supported liturgical practices, including baptismal fonts positioned near the entrance to symbolize initiation into the faith, a placement recommended in Catholic architectural guidelines to align the font axially with the altar.^[39] In some designs, such as at Nerezi, the narthex connected directly to attached chapels for auxiliary services, while stairwells occasionally led to upper galleries for additional accommodation.^[37] Benches or seating areas accommodated waiting penitents or catechumens, reflecting the space's role in accommodating those not yet fully admitted to the nave.^[40] Material choices for narthex construction varied by region, with stone and brick predominating in Mediterranean Byzantine and early Christian examples for durability and availability, as in the brick-faced structures of Constantinople.^[32] In Northern European Romanesque adaptations, wood was more frequently used for roofs and protective elements to withstand harsher weather, contrasting with the stone-heavy southern traditions.^[27]

Liturgical and Symbolic Role

Functions in Worship

In early Christian liturgy, the narthex served as a segregated space during the Mass, where catechumens (those preparing for baptism) and public penitents were excluded from the nave to prevent their participation in the Eucharist. This practice was formalized in the 4th century through canons such as those from the Council of Laodicea in 363, which structured the dismissal of catechumens and penitents after specific prayers. Catechumens and penitents occupied the narthex, remaining there while the faithful proceeded with the sacred rites.^[41]^[40] The narthex also functioned as a site for preparatory rites, particularly in Eastern Christian traditions, where exorcisms were performed to renounce evil influences before baptism. These rites often began in the narthex to symbolize the transition from the outside world, with the priest conducting prayers and insufflations over the candidates. Baptisms, especially infant immersions, incorporated this space for initial blessings and renunciation formulas, before moving to the font inside the church.^[42]^[43] Processional uses of the narthex were prominent in both Eastern and Western liturgies, positioning it as a starting point for communal movements into the nave. In Orthodox worship, it hosted the litiya, a litany procession with blessings and icons, allowing even catechumens and penitents to participate from this threshold area during vigils. Funeral vigils, including the trisagion service, often began in the narthex, where the priest met the procession and led it inward while chanting prayers for the departed. In Catholic traditions, the narthex gathered the faithful for Palm Sunday processions, distributing blessed palms before entering the church to commemorate Christ's entry into Jerusalem.^[44]^[45]^[46] In contemporary Christian worship, following 20th-century liturgical reforms such as those from the Second Vatican Council, the narthex has evolved into a vestibular space for modern assemblies, facilitating greetings, bulletin distribution, and pre-service fellowship. It often includes practical amenities like coat rooms for outerwear during inclement weather or seasonal services. In larger congregations, it provides overflow seating with audiovisual links to the nave, accommodating crowds during major feasts without disrupting the core liturgy.^[47]

Symbolic Significance

The narthex embodies threshold symbolism as a liminal space between the profane world and the sacred interior of the church, representing the boundary akin to the "outer court" described in Revelation 11:2, where the earthly realm is given over to the nations yet stands in anticipation of divine inclusion.^[48] In Byzantine theological thought, as articulated by Symeon of Thessaloniki, the narthex specifically signifies the earth, contrasting with the nave's representation of heaven and paradise, and the sanctuary's evocation of the transcendent divine sphere; this tripartite division underscores a cosmological progression from material creation to spiritual union.^[49] This spatial metaphor highlights the narthex's role in facilitating the believer's transition from worldly impurity to sacred purity, mirroring the soul's journey toward redemption. As a penitential gateway, the narthex echoes the divisions of the Old Testament temple, serving historically as the designated area for catechumens, penitents, and the excluded, where preparation for reconciliation occurs before full participation in the liturgy.^[16] Iconographic programs in the narthex, such as depictions of the Harrowing of Hell, reinforce this symbolism by portraying Christ's descent into the underworld to liberate righteous souls, offering hope of redemption to those lingering in spiritual exile and emphasizing the transformative power of divine mercy for the marginalized. This penitential function transforms the space into a site of hope, where exclusion is not final but preparatory for reintegration into the community of the faithful. Ecclesiologically, the narthex functions as a microcosm of the Church's inclusive yet hierarchical nature, illustrating the communal path from outer preparation to inner communion and influencing Orthodox understandings of theosis—the process of divinization—through spatial progression that mirrors the believer's ascent toward union with God.^[50] The layout promotes a sense of ordered inclusion, where the narthex gathers the diverse (catechumens and penitents alike) at the threshold, fostering a theology of gradual sanctification within the Body of Christ.^[51] In Byzantine hymnography and patristic tradition, the narthex draws on the "porch of Solomon" from Song of Songs 3:11 as a symbol of preparatory instruction for divine encounter, evoking the site of early Christian catechesis where Tertullian located authentic teaching away from heretical influences, thus linking architectural form to the pursuit of spiritual wisdom.

Notable Examples

Early Christian and Byzantine

One of the earliest and most influential examples of a narthex in early Christian architecture is found in Old St. Peter's Basilica in Rome, constructed in the 4th century under Emperor Constantine. This basilica featured a single narthex integrated with a spacious atrium, known as the "Paradise," which served as an open colonnaded forecourt enclosed by four porticoes supported by columns, providing a transitional space before entering the main nave.^[3] The colonnaded entry emphasized the basilica's grandeur and its role as a pilgrimage site over the tomb of St. Peter. Although the structure was demolished between 1506 and 1514 to make way for the current basilica, its design was meticulously documented in Renaissance drawings by architects such as Donato Bramante and Antonio da Sangallo the Younger, preserving details of the narthex and atrium for later study.^[52] In the Byzantine tradition, the Chora Church (now Kariye Mosque and Museum) in Istanbul exemplifies the evolution of the narthex during the 11th to 14th centuries, particularly through renovations sponsored by Theodore Metochites around 1315–1320. The church incorporates a double narthex—an outer exonarthex and an inner narthex—creating layered vestibules adorned with intricate mosaics and frescoes that narrate cycles of incarnation, salvation, and resurrection themes.^[38] For instance, the inner narthex features a prominent Deësis mosaic depicting Christ enthroned between the Virgin Mary and John the Baptist, while adjacent panels illustrate scenes from the life of the Virgin and eschatological motifs tied to resurrection, such as the Last Judgment, emphasizing themes of divine mercy and eternal life.^[38] These decorations, executed in a refined late Byzantine style with gold tesserae for luminous effect, highlight the narthex's role in preparing worshippers spiritually; the church's conversion to a museum in 1945 has preserved these artworks for public access.^[38] The Monastery of Hosios Loukas in Greece, dating to the 10th and early 11th centuries, demonstrates a monastic adaptation of the narthex in its katholikon (main church), where an esoteric exonarthex serves as a contemplative vestibule leading to the naos. Founded around 961 in honor of St. Luke the Younger, a local healer and ascetic, the exonarthex is richly decorated with mosaics from circa 1025–1050, including scenes from Christ's Passion and Resurrection, such as the Washing of the Feet, Crucifixion, Anastasis (Harrowing of Hell), and Doubting Thomas.^[53] These mosaics, rendered in a severe yet abstracted Middle Byzantine style with a focus on theological depth, reflect the monastery's emphasis on healing and pilgrimage, as St. Luke's relics were housed nearby to draw devotees.^[53] The exonarthex's design, with its integration into the octagonal-domed structure, underscores adaptations for communal rituals like Holy Thursday foot-washing, blending liturgical function with monastic seclusion.^[53] St. Mark's Basilica in Venice, begun in the 11th century and consecrated in 1094, showcases a Byzantine-influenced narthex that bridges Eastern and Western architectural traditions through its tetraconch layout and opulent decorations. Modeled after Constantinople's Church of the Holy Apostles, the narthex wraps around the western end of the Greek-cross plan, featuring vaulted spaces clad in marble revetments and covered in golden mosaics depicting New Testament scenes, such as the Creation and Genesis cycle, crafted by Byzantine artisans between the 11th and 13th centuries.^[54] This tetraconch configuration—four apsed arms converging on a central space—facilitates the basilica's role as both a ducal chapel and a symbol of Venice's maritime power, incorporating Eastern domes and Islamic-inspired motifs alongside Western narrative elements to assert independence from Byzantine oversight.^[54] The narthex's mosaics, illuminated by light filtering through arched openings, create a heavenly prelude to the interior, exemplifying the fusion of Orthodox iconography with Venetian civic identity.^[54]

Romanesque, Gothic, and Modern

In the Romanesque period, the narthex evolved in Western architecture to integrate with atria, creating transitional spaces that blended civic and liturgical functions. The Basilica of Sant'Ambrogio in Milan, rebuilt in the 12th century as a prime example of Lombard Romanesque style, features an atrium-narthex complex where the colonnaded atrium precedes a two-story narthex porch with arched openings on both levels.^[55] This design, constructed from deep red brick typical of the region, allowed the space to serve as a gathering area for civic processions and religious assemblies before entering the nave.^[15] A notable element is the serpent column in the narthex, a 10th-century Byzantine bronze snake atop an ancient Roman granite pillar, symbolizing protection and positioned to greet visitors from the entry.^[56] During the Gothic era, narthexes became more elaborate, often functioning as sculptural ensembles that emphasized theological themes at the church's threshold. Chartres Cathedral in France, with its 13th-century western facade, exemplifies this through an expansive porch serving as the narthex, adorned with deeply carved portals that depict scenes of divine judgment.^[57] The central portal illustrates the Second Coming of Christ enthroned in judgment, flanked by apostles and evangelist symbols, while jamb figures of elongated prophets and kings act as columnar supports, creating a visual barrier between the profane world and the sacred interior.^[57] This porch, built in the early Gothic style with pointed arches and hierarchical scaling, not only sheltered penitents but also instructed the faithful through its iconography, reinforcing the narthex's role as a liminal space of moral preparation.^[57] In the 20th century, narthex designs in Western churches simplified while retaining Gothic influences, adapting to contemporary communal needs. Liverpool Cathedral in England, the Anglican Cathedral Church of Christ completed in 1978 under Sir Giles Gilbert Scott's neo-Gothic vision, incorporates a modern streamlined vestibule at the west entrance, characterized by a low prow-like portico with a broad arch that opens directly into the nave.^[58] This simplified entry, revised in the 1960s to emphasize verticality and light, functions as an ecumenical gathering space, accommodating interfaith events and public assemblies in line with the cathedral's role as a civic landmark.^[58] Recent Orthodox revivals have preserved traditional narthex forms amid modern urban contexts. The reconstruction of the Cathedral of Christ the Saviour in Moscow between 1995 and 2000 maintained a narthex structure integrated into the church's expansive design to support elaborate traditional rites.^[59] This adaptation balances historical fidelity with contemporary urban demands, allowing the narthex to host processions and preparatory rituals within a bustling metropolitan setting.^[59]

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Marble Revetments - Orthodox Arts Journal
Jan 8, 2013 · Marble revetments are decorative marble paneling on lower walls of Byzantine churches, with abstract designs, and the word means 'vestment'.Missing: arcades | Show results with:arcades
[36]
Byzantine frescoes at Saint Panteleimon, Nerezi - Smarthistory
Like most Byzantine churches, Saint Panteleimon is divided into three main parts, which were adorned with frescoes: the narthex at the western end of the church ...Byzantine Frescoes At Saint... · The Naos · Bishops In The BemaMissing: elements | Show results with:elements
[37]
Picturing salvation — Chora's brilliant Byzantine mosaics and frescoes
The mosaics of the inner narthex culminate with two pumpkin domes (named for their fluted shape that resembles the undulating surface of a pumpkin) that display ...
[38]
[PDF] Built of Living Stones: Art, Architecture, and Worship
The basic liturgical principles for designing and renovating churches today are drawn from the Second. Vatican Council and the documents that implemented its ...
[39]
Narthex | Catholic Answers Encyclopedia
The outer narthex was sometimes used as a hall of judgment and for other secular purposes, and, after the sixth century, as a place of burial, while the inner ...Missing: earliest | Show results with:earliest
[40]
CHURCH FATHERS: Synod of Laodicea (4th Century) - New Advent
Canon 7. Persons converted from heresies, that is, of the Novatians, Photinians, and Quartodecimans, whether they were catechumens or communicants among them, ...Missing: narthex | Show results with:narthex
[41]
https://www.newadvent.org/fathers/3806.htm
[42]
Euchologion: The Exorcisms Before Baptism
These exorcisms are to be said in church, in the narthex, and the priest vests with the epitrachilion. In the Fourth Week, the following exorcism is said:.
[43]
[PDF] Saints Commemorated in the Litiyá Prayers
As one becomes familiar with various explanations of the Litiyá it is helpful to recall that early on, the entry (narthex or vestibule) was reserved for ...
[44]
[PDF] ORTHODOX FUNERALS GUIDELINES & INFORMATION
The priest begins the service by meeting the family, friends, and casket at the Narthex of the church. Chanting the Trisagion hymn, he leads them into the ...
[45]
Bishop Rhoades, faithful welcome the King on Palm Sunday
Apr 17, 2019 · Due to the weather the outside procession was cancelled, so the faithful and clergy gathered in the narthex of the cathedral for the ...
[46]
Gathering Space | EWTN
a threshold space between the congregation's space and the outside environment. In the early days of the Church, it was a ' ...
[47]
Church Building - Orthodox Prayer
Narthex-vestibule symbolizes this world. Services such as those for baptism or wedding services start in the vestibule. Chruch 2. The Church proper, or Nave ( ...
[48]
“The Proskynetaria of the Templon and Narthex: Form, Imagery ...
According to Symeon, the narthex indicates the earth, the nave represents heaven and paradise, and the sanctuary symbolizes heaven and the sphere beyond heaven ...
[49]
The Dogmatic Tradition of the Orthodox Church
Aug 20, 1998 · The Byzantine church tradition has developed an important symbolism regarding the church edifice: the narthex is the preparation for the ...
[50]
https://www.goarch.org/-/the-dogmatic-tradition-of-the-orthodox-church
[51]
[PDF] The Sempiternal Nature of Architectural Conservation and
Feb 19, 2010 · Renaissance drawings of St. Peter's Basilica with me during ... Old St Peter's conforms to the Latin cross typology of martyrdom basilica.
[52]
the monasteries of Hosios Loukas, Nea Moni, and Daphni
These three monuments—Hosios Loukas, Nea Moni, and Daphni—point to common trends in Middle Byzantine mosaics, while also demonstrating the flexibility of church ...
[53]
Basilica San Marco (Saint Mark's Basilica), Venice - Smarthistory
Visitors entering the narthex find themselves surrounded by mosaics decorating walls and ceiling over tessellated multi-colored stone floors swirling in varied ...
[54]
Sant'Ambrogio
Like early Christian basilicas, this Romanesque church has an atrium or colonnaded court in front of and attached to the church. It has a two-story narthex, or ...<|control11|><|separator|>
[55]
The Bronze Snake of Moses in the Basilica of Sant'Ambrogio, Milan
May 11, 2021 · Looking from the narthex toward the high altar, perched upon an ancient Roman column, sits a bronze snake -- and directly across from it on the ...
[56]
Cathedral of Notre Dame de Chartres - Smarthistory
Those vertical windows reflect the portals below them. Dr. Harris: [3:31] The three portals are covered with sculpture. Anyone walking into this church ...Missing: narthex | Show results with:narthex
[57]
Bigness of Touch: Liverpool Anglican Cathedral | Article Archive
It is a building of subtle invention and “modern” in its fresh contribution to the Gothic language. The Beginnings. Liverpool is not the only entirely new ...Missing: narthex vestibule simplified neo-
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The Basilica of St. Ambrose in Milan, Italy / OrthoChristian.Com
Dec 19, 2015 · Early Christian Basilica (4th century) The Basilica of St. Ambrose was begun by Bishop Ambrose himself around 385 and consecrated in 386. The ...