Search
- Filter Results
- Location
- Classification
- Include attachments
- https://human.libretexts.org/Courses/Prince_George's_Community_College/Introduction_to_Art__Art_History_Part_2/06%3A_Medieval_Europe_and_Byzantine/6.06%3A_ByzantineAt Jerusalem, Constantine’s church of the Holy Sepulchre (dedicated 336) marked the sites of Christ’s Crucifixion, Entombment, and Resurrection, and consisted of a sprawling complex with an atrium ope...At Jerusalem, Constantine’s church of the Holy Sepulchre (dedicated 336) marked the sites of Christ’s Crucifixion, Entombment, and Resurrection, and consisted of a sprawling complex with an atrium opening from the main street of the city; a five-aisled, galleried congregational basilica; an inner courtyard with the rock of Calvary in a chapel at its southeast corner; and the aedicula of the Tomb of Christ, freed from the surrounding bedrock, to the west.
- https://human.libretexts.org/Bookshelves/Music/Music_Appreciation/Music_Appreciation_II_(Kuznetsova)/11%3A_Baroque_Opera_Cantata_Oratorio_G._F._Handel/11.03%3A_CantataThe meaning of the term changed over time, from the simple single voice madrigal of the early seventeenth century, to the multi-voice “cantata da camera” and the “cantata da chiesa” of the later part ...The meaning of the term changed over time, from the simple single voice madrigal of the early seventeenth century, to the multi-voice “cantata da camera” and the “cantata da chiesa” of the later part of that century, from the more substantial dramatic forms of the eighteenth century to the usually sacred-texted nineteenth-century cantata, which was effectively a type of short oratorio.
- https://human.libretexts.org/Bookshelves/Art/SmartHistory_of_Art/06%3A_Medieval_Europe__Byzantine/6.06%3A_ByzantineAt Jerusalem, Constantine’s church of the Holy Sepulchre (dedicated 336) marked the sites of Christ’s Crucifixion, Entombment, and Resurrection, and consisted of a sprawling complex with an atrium ope...At Jerusalem, Constantine’s church of the Holy Sepulchre (dedicated 336) marked the sites of Christ’s Crucifixion, Entombment, and Resurrection, and consisted of a sprawling complex with an atrium opening from the main street of the city; a five-aisled, galleried congregational basilica; an inner courtyard with the rock of Calvary in a chapel at its southeast corner; and the aedicula of the Tomb of Christ, freed from the surrounding bedrock, to the west.
