In Eastern Christianity an iconostasis is a wall of icons and religious paintings, separating the nave from the sanctuary in a church. Iconostasis refers to a portable icon stand that can be placed anywhere within a church; the iconostasis evolved from the Byzantine templon. A direct comparison for the function of the main iconostasis can be made to the layout of the great Temple in Jerusalem; that Temple was designed with three parts. The holiest and inner-most portion was that; this portion, the Holy of Holies, was separated from the second larger part of the building's interior by a curtain, the "veil of the temple". Only the High Priest was allowed to enter the Holy of Holies; the third part was the entrance court. This architectural tradition for the two main parts can be seen carried forward in Christian churches and is still most demonstratively present in Eastern Orthodox churches where the iconostasis divides the altar, the Holy of Holies where the Eucharist is performed – the manifestation of the New Covenant – from the larger portion of the church accessible to the faithful.
In the Eastern Orthodox tradition only men can enter the altar portion behind the iconostasis. However one will see women serving behind the iconostasis at female monasteries; the word comes from the Greek εἰκονοστάσι, which means "icon stand". The nave is the main body of the church where most of the worshippers stand, the sanctuary is the area around the altar, east of the nave; the sanctuary is one to three steps higher than the nave. The Iconostasis does not sit directly on the edge of the sanctuary, but is set a few feet back from the edge of the top step; this forms a walkway in front of the iconostasis for the clergy, called a soleas. In the center of the soleas is an extension rounded, called the ambon, on which the deacon will stand to give litanies during the services; the iconostasis, though tall touches the ceiling. Acoustically, this permits the ekphoneses of the clergy to be heard by the faithful. In small, modern churches the iconostasis may be absent: in such cases it is replaced by a few small icons on analogia, forming a virtual divide.
The iconostasis has three openings or sets of doors: the Beautiful Gates or Holy Doors in the center, the North and South Doors to either side. The Beautiful Gates are sometimes called the Royal Doors, but that name more properly belongs to the central doors connecting the narthex, or porch, to the nave, they remain shut. Modern custom as to when they should be opened during services varies depending upon jurisdiction and local custom; the North and South Doors are called Deacons' Doors because the deacons use them frequently. Icons of sainted deacons are depicted on these doors. Alternatively, they may be called Angels' Doors, the Archangels Michael and Gabriel are depicted there; the South Door is the "entrance" door, Michael is depicted there because he is the "Defender". These doors may be casually referred to as the "side doors". There are some exceptions; the most notable exception is of the church of Saint George inside the Ecumenical Patriarchate of Constantinople. In many monastery churches and chapels one may find iconostases with only two doors: the Holy Doors and the North Door.
These churches are used for simpler monastic observances when only a hieromonk would be serving alone. A number of guidelines or rubrics govern which icons are on which parts of the iconostasis, although there is some room for variation. In its fullest Slavic development it comprised five tiers of icons: The bottom tier is sometimes called Sovereign. On the right side of the Beautiful Gates is an icon of Christ, which symbolized his Second Coming and on the left side is an icon of the Theotokos, symbolizing Christ's Incarnation, entrance into this world. Therefore, all things take place between second coming. Other icons on this tier beside those on the doors themselves include depictions of the patron saint or feast day to which the church is dedicated, St. John the Baptist, St. Nicholas, one or more of the Four Evangelists etc. Above this are two interchangeable tiers: the Deisis and the Twelve Great Feasts: In the center of the Deisis is a large icon of Christ Enthroned. To the left and right are icons of John the Baptist and the Theotokos in attitudes of supplication.
They are flanked by icons of the Archangels Michael and Gabriel Sts. Peter and Paul, any other important Church Fathers that may be desired for inclusion as space allows; the Feasts tier contains icons of the twelve Great Feasts of the liturgical year. Above this, the top two tiers are interchangeable with each other: The Old Testament Prophets and Patriarchs—the latter including the 12 sons of Jacob—often to either side of an icon of Our Lady of the Sign, it is not uncommon to find an icon of the Mystical Supper, which depicts the Last Supper, by extension the Communion of Saints in the Kingdom of God, somewhere above the Beautiful Gates. The Sovereign (bot
West Rasen is a village and civil parish in the West Lindsey district of Lincolnshire, England. It is situated on the A631 road, 3 miles west from Market Rasen; the population is included in the civil parish of Osgodby. The parish church is a Grade I listed building dedicated to All Saints, dating from the 11th century, built from ironstone; the font is 15th-century, the former north aisle chapel was a chantry founded in 1373 for John Pouger and dissolved in 1548. The churchyard cross is 14th-century, although it was restored in the 19th century, is both Grade II listed and a scheduled monument. Packhorse Bridge is a Grade II* ironstone listed bridge over the River Rase, which dates from the 15th century with 20th-century alterations, it consists of a narrow bridge with cobbled surface. It is a scheduled monument; the Post Office is a Grade II listed former cottage, now shop and house, dating from the late 17th century with 20th-century alterations and additions. It is to have been mud and stud but is now underbuilt in red brick with a thatched roof.
Media related to West Rasen at Wikimedia Commons
Maruschka Detmers is a Dutch actress. She moved to France as a teenager. In 1983, she made her dramatic debut under Godard's direction in Prénom Carmen. Other noteworthy films include Hanna's War and The Mambo Kings, but she is best known for her role in Devil in the Flesh. Detmers is the mother of actress Jade Fortineau by her relationship with French actor Thierry Fortineau. First Name: Carmen Le Faucon La Pirate La vengeance du serpent à plumes Via Mala Lime Street Il diavolo in corpo Come sono buoni i bianchi Hanna's War Deux Comédie d'été Le Brasier Armen and Bullik The Mambo Kings Elles n'oublient jamais The Shooter Méfie-toi de l'eau qui dort Comme des rois Rewind Clarissa St. Pauli Nacht Sommergewitter Pour l'amour du ciel Te quiero Zugvögel der Liebe Mère, fille: mode d'emploi Jean Moulin, une affaire française Capitaine Lawrence Mata Hari, la vraie histoire Mon fils cet inconnu Le Père Goriot Disparition Nos 18 ans Robert Zimmermann wundert sich über die Liebe Maruschka Detmers on IMDb